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Módulo
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Permanent Link: http://ufdc.ufl.edu/UF00103183/00001
 Material Information
Title: Módulo
Physical Description: v. : ill. ; 33 cm.
Language: Portuguese
Publisher: s.n.
Place of Publication: Rio de Janeiro
Publication Date: 1957
 Subjects
Subjects / Keywords: Architecture -- Periodicals -- Brazil   ( lcsh )
Art -- Periodicals -- Brazil   ( lcsh )
Architecture -- Périodiques -- Brésil   ( rvm )
Art brésilien -- Périodiques   ( rvm )
Genre: periodical   ( marcgt )
serial   ( sobekcm )
 Notes
Language: In Portuguese and English or German with summaries and/or translations in French and Spanish.
Dates or Sequential Designation: Began with Mar. 1955 issue.
General Note: Revista de arquitetura e artes plasticas.
 Record Information
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 02448712
lccn - 62000191
sobekcm - UF00103183_00001
System ID: UF00103183:00001

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Table of Contents
    Front Cover
        Front Cover 1
        Front Cover 2
    Front Matter
        Front Matter 1
        Front Matter 2
        Front Matter 3
        Front Matter 4
        Front Matter 5
        Front Matter 6
        Front Matter 7
        Front Matter 8
        Front Matter 9
        Front Matter 10
        Front Matter 11
        Front Matter 12
        Front Matter 13
        Front Matter 14
    Table of Contents
        Page 1
        Page 2
    Main
        Page 3
        Page 4
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
        Page 10
        Page 11
        Page 12
        Page 13
        Page 14
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
        Page 21
        Page 22
        Page 23
        Page 24
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
        Page 30
        Page 31
        Page 32
        Page 33
        Page 34
        Page 35
        Page 36
        Page 37
        Page 38
        Page 39
        Page 40
        Page 41
        Page 42
        Page 43
        Page 44
        Page 45
        Page 46
        Page 47
        Page 48
        Page 49
        Page 50
        Page 51
        Page 52
        Page 53
        Page 54
        Page 55
        Page 56
    Back Matter
        Back Matter 1
        Back Matter 2
        Back Matter 3
        Back Matter 4
        Back Matter 5
        Back Matter 6
        Back Matter 7
        Back Matter 8
        Back Matter 9
        Back Matter 10
        Back Matter 11
        Back Matter 12
        Back Matter 13
        Back Matter 14
    Back Cover
        Back Cover 1
        Back Cover 2
    Separata: Traductions uebersetzungen
        Separata 1
        Separata 2
        Separata 3
        Separata 4
        Separata 5
        Separata 6
        Separata 7
        Separata 8
Full Text
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onstrutora


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NOVAS PORTAS ELETRO-MECANIZADAS


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FUNDADA
EM 1919


ENGENHARIA HIDRAULICA
PORTOS
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FUNDAC6ES PNEUMATICAS
GRANDES ESTRUTURAS
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E S C R IT 6 R I 0 S:
Av. Graqa Aranha, 226 8.0 andar

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END. T E L E G RA F I C O:
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INCINERAD ORES DE LIXO






























Ao adquirir um incinerador de lixo INCINEX, V. So. nao

est6 apenas comprando um f6rno cremat6rio de marca

reputada e larga aceitagao V. Sa. est6 obtendo a certe-

za de uma instalasao bem perfeita, e a seguranra de

que tem atraz de si uma organizagao ampla, com

grande capital e cansider6vel nirmero de engenheiros

e pessoal, com efetiva idoneildade tecnica.

Esta certeza e esta seguran5a, aliadas a modernas

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MOSAICO

VIDROSO


"VIDROTIL"


REPRESENTANTES DO VITROTIL INDOSTRIA E COMERCIO DE VIDROS LTDA.


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RIO DE JANEIRO
SAO SALVADOR
BELO HORIZONTE
FORTALEZA
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RAIMUNDO MATTOS JUNIOR Rua do Ros6rio, 300 Fone: 1-3395
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Resolvido


problema


de espago!


V

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-: FRODUTO


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so puxar o enc6sto! t -oiejo de mo-
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DOR PROBELI
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DA ESTRUTURA AOS DETA-

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OUTRO NA OBEDIENCIA AOS RE-

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I armifero

execute

as trabalhos de marmore

granite

do Paldcio da Alvorada em Brasilia

is doing

the marble and granite works

at the Pdlacio Alvorada at Brasilia


Sociedade Marmifera Brasileira Pda.

R. Jos6 Clemente 166 Rio de Janeiro Brasil


Director Presidente:

Napoli Giovanni Felice Umberto

Diretores:

Eng* Giorgio Veneziani, Dante Napoli







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METALIRGICA MATARAZZO S. A. R. CAETANO PINTO, 575 SAO PAULO


























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s Oscar Niemeyer
Depoimento
Testimony
7 Renato Almeida
Bumba-meu-boi de Camassari
The Drum-Beat-Bull-Rite at Cam assari
14 Lucio Costa Oscar Niemeyer
Praga dos Trks Poderes e Palhcio do Congresso Nacional
Piazza of the Three Powers and Palace of the National Congress
22 S6rgio Bernardes
Pavilhao do Brasil na Exposiciio Internacional de Bruxelas
Brazil's Pavilion at the International Exhibition at Brussels
26 Affonso E. Reidy
Sede do Montepio dos Empregados Municipais
Municipal Employees Pensions Building
30 Flivio de Aquino
Jos6 Pancetti
34 Brasilia em Exposiiio Permanente
Brasilia Permanent Exhibition
38 Museu de Arte Moderna do Rio de Janeiro
Museum of Modern Art in Rio de Janeiro
42 S6rgio Bernardes
Agencia de Jornal
Newspaper Agency
44 Ney Fontes Gontalves
Agencia do Banco
Banking Agency
46 Paschoal Carlos Magno
Os mocos e o teatro no Brasil
Youth and the theatre in Brazil


revista de arquitetura e
Rio de Janeiro, Fevereiro 1958,
architecture and fine
Rio de Janeiro, February 1958,


artes plasticas
Volume 2, N.o 9
arts review
Volume 2, No. 9









































































































































































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Oscar Niemeyer


DEPOIMENTO


TESTIMONY


As obras de Brasilia marcam, juntamente com o
projeto para o Museu de Caracas, uma nova etapa
no men trabalho professional. Etapa que se carac-
teriza por uma procura constant de concisio e
pureza, e de maior atencao para comn os problems
fundamentals da arquitetura.
Essa etapa, que represent uma mudanga no meu
modo de projetar e, principalmente, de desenvolver
os projetos, nio surgiu sem meditacgo. Nio surgiu
como formula diferente, solicitada por novos pro-
blemas. Decorreu de mn process honest e frio
de revisio do meu trabalho de arquiteto.
Realmente, depois que voltei da Europa, ap6s ha-
ver atento aos assuntos do oficio viajado de
Lisboa a Moscou, muito mudou a minha attitude
professional.
At6 aquela 6poca, costumava considerar a arquite-
tura brasileira apesar de suas qualidades inegi-
veis com certas reserves. Acreditava, como ainda
acredito, que sem uma just distribuigio da riqueza
- capaz de atingir a todos os stores da populagio
- o objetivo basico da arquitetura, ou seja o seu
lastro social, estaria sacrificado, e a nossa atuagio
de arquitetos relegada apenas a tender os capri-
chos das classes abastadas.
Sentia com isso um vago desanimo, desinimo que
me levava a considerar ing8nuos os que se entrega-
vam A arquitetura de corpo e alma, como se cons-
truissem obras capazes de perdurar. Embora nunca
me tivesse desinteressado da profissio, encarava a
arquitetura como complement de coisas mais im-
portantes, e mais diretamente ligadas a vida e i
felicidade dos homes. Ou, ainda, como costumava
dizer, como um exercicio que se deve praticar corn
espirito esportivo e nada mais. E isso permitia
certa negligencia facilitada pelo meu feitio dis-
plicente e boemio e fazia corn que aceitasse


The works in progress in Brasilia together with my
project for the Caracas Museum mark a new stage
in my professional activities. This step is character-
ised by a constant seeking for conciseness and
purity, as well as greater attention to basic
architectural problems.
This stage, which constitutes a change in my projec-
tion method, and, principally in project develop-
ment, has not arisen unreflectedly. It did not break
through as a different formula arrived at to meet
new problems; rather, it sprang from a cold and
frank review of my work as an architect.
As a matter of fact my professional attitude has
changed considerably since my return from Europe,
where I traveled from Lisbon to Moscow attentive
to my calling.
In spite of its undeniable qualities, up to that time
I was accustomed to view Brazilian architecture
with a certain reserve. I believed, as I still do, that
unless there is a just distribution of wealth -
which can reach all sectors of the populace the
basic objective of architecture, that is its social
ballast, would be sacrificed, and our role of
architect relegated only to wait upon the whims
of the wealthy.
This left me with a vague restraint, which led me
to believe that such as dedicated themselves to
architecture body and soul must be very naive.
Although I had never been uninterested in our
profession, I looked upon architecture as the
complement of more important things, as more
directly connected with the life and happiness of
man. Or, further, as I used to say, as an exertion
to be undertaken with sporting spirit nothing
more. This allowed me a certain negligence, which
pandered to my easy-going Bohemian nature, and
accounted for the fact that I took on too many
projects, executed them hurriedly, relying upon my
























trabalhos em demasia, executando-os As pressas,
confiante na habilidade e na capacidade de impro-
visagio de que me julgava possuidor.
Essa attitude de descrenga, que as contradig6es so-
ciais ensejam com relagio aos objetivos da profis-
sio, levou-me por v6zes a descuidar de certos pro-
blemas e a adotar uma tendencia excessive para a
originalidade, no que era incentivado pelos pr6prios
interessados, desejosos de dar a seus pr6dios maior
repercussio e realce. Isso prejudicou em alguns
casos a simplicidade das construg6es e o sentido de
16gica e economic que muitas reclamavam.
A verdade que consider minhas tio-shmente
aquelas obras a que me pude dedicar regularmente,
e como tais apresento em publicag6es e revistas tic-
nicas. Mas, mesmo entire essas obras encontro al-
gumas que talvez tivesse sido melhor nio haver
projetado, pelas modificag6es inevitiveis que te-
riam de sofrer durante a execugio, destinadas que
cram a pura especulagio imobiliiria.
Nao pretend naturalmente com 6stes comentarios
iniciar um process de autodestruisgo, nem atribuir
aos meus trabalhos feiCio depreciativa. Vejo-os,
pelo contririo, como fatores positives dentro do
movimento arquitetural brasileiro, ao qual deram,
na ocasiio oportuna, por seu elan e sentido criador,
uma contribuiCio efetiva que at6 hoje caracteriza
esse movimento. E se refiro esta autocritica, ini-
ciada hi dois anos, quando elaborava o projeto do
Museu de Caracas, 6 por consideri-la process nor-
mal e construtivo capaz de nos conduzir i correaio
de erros e a melhores resultados, com a adogio de
uma s6rie de provid6ncias e medidas disciplinado-
ras. Estas, no meu caso, se assinalam, primeiro:
pela redugio de trabalhos no escrit6rio e pela re-
cusa sistemitica daqueles que visem apenas a in-
ter6sses comerciais, a fim de melhor me dedicar
aos restantes, dando-lhes assistencia continue e ade-
quada; depois: estabelecendo para os novos proje-
tos uma s6rie de normas que buscam a simplifica-
cio da forma plistica e o seu equilibrio com os
problems funcionais e construtivos.
Neste sentido, passaram a me interessar as solug6es
compactas, simples e geom6tricas; os problems de
hierarquia e de carter arquitetonico; as conve-


ability and powers of improvisation which I was
certain I possessed.
It was this mistrust, engendered by the social
contradictions with relation to the objectives of our
profession, which led me to a series of shortcomings,
amongst which I would accentuate an excessive
tendency toward originality, incentivated by the
interested parties themselves who were desirous of
giving to their buildings something showy and
spectacular to be talked about. In some cases this
hindered simplicity of construction and the logical
and economical sense, for which many clamored.
Of course it is true that I consider only as my own
works those to which I could give regular attention,
and present them as such in technical publications
and magazines. Even so, amongst such works I find
*some which, perhaps, would better not have been
projected, inasmuch as they would be subject to
inevitable modifications during execution, as they
were to be the fruits of real estate speculation.
This does not mean to say I wish to begin
a process of self-destruction with such com-
ments or to deprecate my work. On the contrary,
I see them- as positive factors within the Brazilian
Architectural Movement, to which, at a very op-
portune time, they contributed, effectively, by their
dashing creative spirit, which still characterizes
this movement today. If I refer to this self-criticism,
started two years ago when I drew up the Caracas
Museum project, it is because I consider it a normal
constructive process which can lead us to the cor-
rection of errors and to better results through
adoption of a series of steps and disciplinary
measures. In my case, these are marked, firstly, by
the reduction of work in the office, and systemat-
ical refusal of those which carry purely commercial
interest, that I may better dedicate myself to others,
thereby giving them continued and adequate at-
tention; secondly, by fixing a series of rules for
new projects, having for their objectives simplicity
of plastic form and in balance with functional and
construction problems.
In this respect I have become interested in compact
solutions, simple and geometric: problems of
hierarchy and of architectonic character: the fitness
of unity and harmony amongst the buildings, and,
further, that these no longer be expressed through























niencias de unidade e harmonia entire os edificios e,
ainda, que estes nio mais se exprimam por seus
elements secundirios, mas pela pr6pria estrutura,
devidamente integrada na conceplio plistica ori-
ginal.
Dentro do mesmo objetivo, passei a evitar as solu-
c6es recortadas ou compostas de muitos elements,
dificeis de se conteremr numa forma pura e defini-
da; os paramentos inclinados e as formas livres
que, desfigurados pela incompreensgo e in6pcia de
alguns, se transformam muitas vezes em exibicio
ridicule de sistemas e tipos diferentes.
E tudo isso procurando nio cair num falso pu-
rismo, numn formulario mon6tono de tendencia in-
dustrial, consciente das imensas possibilidades do
concrete armado e atento a que essa nova posigio
nio se transform em barreira intransponivel, mas,
pelo contririo, enseje livremente id6ias e inovac6es.
Obediente a estes principios, venho trabalhando
desde aquela 6poca. Iniciei a fase como disse -
com o Museu de Caracas, concepgio de pureza e
concisio irrecusiveis. E agora prossigo, nos pr6dios
de Brasilia, aos quais dedico toda atenqio, nio s6
por se tratar de obra de grande importancia como,
tamb6m, pelas ocorrencias anteriores ao seu desen-
volvimento, quando me recusei a aceitar a elabo-
racio do Piano Pil6to, pois, juntamente com o Ins-
tituto de Arquitetos do Brasil, trabalhava no sen-
tido da organizagio do concurso piblico, reservan-
do-me apenas a tarefa de projetar os edificios
governamentais. Incumbencia que nada mais era
sengo a continuaaio natural dos trabalhos que,
desde 1940, vinha realizando, ininterruptamente,
para o prefeito, o governador e, finalmente, o pre-
sidente Juscelino Kubitschek.
Com relacio aos trabalhos de Brasilia, que espero
sejam as minhas obras definitivas, encontrei tres
problems diferentes a resolver: o do pr6dio iso-
lado, livre a toda imaginacio, conquanto exigindo
caracteristicas pr6prias; o do edificio monumental,
onde o pormenor plistico cede o lugar a grande
composigio; e, finalmente, a soluqio de conjunto,
que reclama, antes de tudo, unidade e harmonia.
No Palicio da Alvorada, meu objetivo foi encontrar
um partido que se nio limitasse a caracterizar uma


their secondary elements, but rather through the
structure itself, duly integrated within the original
plastic conception.
Within this same objetivex,, I began to avoid
projects with ornamentation or those composed of
too many elements and difficult to contain within
a pure and defined form; sloping ornamentation
and free forms which disfigured by lack of
comprehension of some and the inaptitude of others
are very often transformed into a ridiculous exhibi-
tion of different types and systems.
All this and trying not to fall into a false purism,
or a monotonous industrial tendency formula,
conscious of the immense possibilities of reinforced
concrete, and, on the other hand, attentive that
this new position should not change itself into an
impregnable wall, but rather be a field open to
all new ideas and innovations.
I have been working since that time, obedient to
these principles. As I said, with the Caracas
Museum I began with the conception of irrefutable
purity and conciseness. And now, the buildings at
Brasilia to which I dedicate my complete at-
tention. Not just because it is a work of the greatest
importance, but also ais a result of the occurrences
which were the forerunners of its development -
the competitive tender for the Pilot Plan when
I refused to accept its development, as, together
with the Brazilian Architects Institute, I was work-
ing in the organisation of the competition, accepting
later on, indifferent to the varying tendencies to
prevent it, the assignment to project the govern-
ment buildings. Ths assignment was nothing other
than the continuation of the -works I had been
executing regularly since 1940 for President Jus-
celino Kubitschek.
With reference to the work at Brasilia, which I
hope will be my definite plan, I found there were
three different problems to be solved: that of
the isolated building, free to the fancy although
demanding its own characteristics; of the monu-
mental building, in which plastic details give place
to the greater composition; and, lastly, the solution
of the group as a whole, which, prior to anything
else, calls for harmony and unity.
In the Palacio da Alvorada (Daybreak Palace) I
took as my objective the finding of a departure























grande residencia, mas um verdadeiro palacio,
com o espirito de monumentalidade e nobreza que
deve marca-lo. Para isso, aproveitei a propria es-
trutura, que acompanha todo o desenvolvimento
da construgao, conferindo-lhe leveza e dignidade,
e 6sse aspect diferente como se pousasse no
solo, suavemente. Coin asse intuito, as colunas se
afinam nas extremidades, permitindo Bs lajes, pelo
sistema de "vofite" em que se baseam, uma espes-
sura de quinze centimetros no eixo de cada espaga-
mento, estabelecendo-se assim perfeita integragio
da forma que caracteriza e exprime o edificio -
com o pr6prio sistema estrutural.
No predio do Congresso Nacional, meu prop6sito
foi fixar os elements plasticos de ac6rdo com as
diversas fung6es, dando-lhes a importincia relative
exigida, e tratando-os no conjunto como formas
puras e equilibradas. Assim, uma imensa esplanada,
contrastando com os dois blocos destinados A ad-
ministraaio e aos gabinetes dos congressistas, marca
a linha horizontal da composigio, destacando-se
s6bre ela os plenirios que, com os demais elements
criam esse j6go de forma que constitui a pr6pria
essencia da arquitetura, e que Le Corbusier tio
bem define: "L'architecture est le jeu, savant,
correct et magnifique des1 volumes assembles sous
la lumiere".
Na Praga dos Tres Poderes, a unidade foi a minha
principal preocupagio, concebendo para isso umn
element estrutural que atuasse como denominador
comum dos dois palicios o do Planalto e o do
Supremo Tribunal e assegurando assim ao con-
junto aquele sentido de sobriedade das grandes
pragas da Europa, dentro da escala de valores fi-
xada pelo magnifico plano de Lucio Costa.
Estas sio, hoje, as minhas diretrizes de arqui-
teto. E se agora elas se oriental num sentido de
maior pureza e simplicidade, fundam-se todavia no
mesmo conceito de criagio o tinico capaz de
conduzir a uma verdadeira obra de arte.
Estas as diretrizes das obras que projetei para
Brasilia, obras que acompanho com o maior des-
velo, convict de sua importincia e desejoso de
que se transformed em qualquer coisa de iitil e
permanent, e capaz de transmitir um pouco de
beleza c emocio.


which did not limit itself to the construction of an
important residence, but rather to that of a true
palace, imbued with the spirit of monumentality and
nobility it called for. With this in mind, I took
advantage of the structure itself which accompanies
the development of the construction, giving it
lightness and dignity, and that different aspect
just as if it had landed softly on the ground. To
achieve this the columns taper at the ends, thus
allowing the layers, through the 'voute' system on
which they are based, a thickness of 6 inches in
the shaft between spans, which establishes perfect
integrity of form (which is characteristic and ex-
presses the edifice) with the. very structural system.
In the National Congress Building, it has been my
task to appoint its plastic elements according to the
various functions required, giving them the degree
of importance required and treating them as a
whole with pure and well balanced forms. Thus,
an immense esplanade, in marked contrast to the
two administrative blocks, marks the horizontal
line of the composition, whereon the two plenaries
stand out; and these, with the other elements,
create that play of forms and shapes which make
architecture what it is, and which Le Corbusier so
well defined as: "The wise, correct and magni-
ficent play of volumes under light".
In the Praca dos Tres Poderes (Plazza of the Three
Powers), unity has been my principal concern, for
which I conceived a structural element which acts
as a common denominator for the two buildings,
the Palacio do Planalto (Tableland Palace) and
the Palacio do Supremo Tribunal (Supreme
Court Palace), which permits the sense of
sobriety of the gerat Squares in Europe within the
scale of values demanded by Lucio Costa's magni-
ficent project.
These then, today, are my directives as an architect.
And if they are now directed in a sense of greater
purity and simplicity, they are still guided by the
same creative path the only one to lead us to
a true work of art.
These then are the directives of the projects I have
drawn up for Brasilia ;and I am accompanying this
work with the greatest zeal, as I am convinced it
has major importance. I am desirous that the whole
be transformed into something lasting and useful,
something which will evoke feeling and beauty.








0-
0








0

















Renato Almeida


0 Bumba-meu-Boi de Camassari



The Drum-Beat-Bull Rite at Camassari

Camassari e uma pequena localidadc a ccrca de quarenta
quil6metros de Salvador, na Bahia. P procurada para estaiIo
de veraneio, conquanto Ihe fallten ainda os imais remotos
requisitos para esse fim e o proprio clima nao mec pareccsso,
em rapida passage por ali, em nada superior ao da capital.
E isso 6 compreensivel, pois se trata de um enorme arcal,
cuja reverberagao 6 muito intcnsa. Uma pequena pra;a
quadrangular, tendo ao meio um jardinzinho cuidado, faz o
centro da cidade, dondei parten os caminhnos que mais tarde
serro as suas ruas. Vida do interior, banzira, dtie nao-
fazer-nada.
Quando chegnuei a Camassari fui avisado de qtue, no dia
de Reis, houvcra unma s6ric do bailados popuilarcs, uin
Bumba, umna Burrinhai, etc. Scria talvez possivel fazc-los sair
uma vez mais. A id6ia naturalmnente me alegrou e, a\ noite,
por um caminino muito cscuro, ao mcio da arcia, fiii com
amigos para ver so scria possivel arranjar ias coisas. Depois
de andar mais do mneia hora, demos na casa da preta Talamni
(Maria Marcelina), mae-de-santo da terra, nascida cm
Inhambupe, zona ja de caatinga, perto da Fcira Sant'Ana.
JA estava a dormir c custom a despcrtar. Alinal, vcio a porta,
tendo A mao um fifd pcqueno lampiio de (Iquerosene -
e nos deixou entrar, se bem qtue cautclosalumente, gra-as a,
presenia do Prefeito da cidade que tamb6m nos acompa-
nhava. Era uma casa de adobe e sap6, coin chlao de terra.
Talami, mulher do uns quarenta anos, nos sandon muito
reservada, en(uanto cu cspreitava, numI canto da saila, ve-
lado por uma coberta do cliitio, o pgi, ueiic 6 o allar ondc
so celebra o candombl6. Alguiin cxpl)icoi o fIim da nosi.I
visit e, dcepois de muita conversa c proinessa dc agradoy
(dinheiro e bebida), ficou dccidido qtue, na imianhlia seguiiitc,
iriam a nossa casa o Boi, a Burrinha, o Urubu e o Bode.
Eram nove horas, quando apareceu a farandula do mulliercs,
vcstidas de branco c com chaphus cada qual da sua cor.
Organizavam-se na forma do terno de Heis c traziamn colll
instruments (quatro pandceiros c duas violas. A piorta d(i
casa, cantaram ias cantigas tradticionais dtisses folgiledos.
Entrados que foram, entoaramn um canto de l)aile pastoril,
com 6ste estribillio:

Bcndito, louvado scia P;]sseava Sio J(s6
0 Menino-Deus nascido. Junto co'a Virge Maria.

Todos os cantos rain acoll mpanilaldos por i)atidas dt milo.
Findas essas cantorias, quc demoraraiul algin tempo, ipoui.
a versalhada cra grand, a Talaimi pcdiu vEnia para fa'er
entrar o boi c foi chanmado biclho, que cstava comn os Ono-
tros, na pratca fronteiriLca. Veio o boi, aqu 6 i um inidividtio)
( no caso Crispimn dos Santos) nctido num arcabouio, imi-
tando o animal. Veio dantcando, flazendo trejcitos, procuran-
do dar marradas a dircita c h esquecrda, invcstindo dclaqui,








fugindo dali, mal contido pelos vaqueiros, vestidos do couro,
um dos quais com uma bandeira vermelha, a cujo centro
apareciam grosseiros bordados a linha branch, urn boi e
um vacqueiro com a guiada na mao. Disseram-me clue eram
trks vaqueiros, mas nesse dia apareceram apenas dois, o
que estA aliAs mais de acordo com a tradicao de sMateus
e Berica. Um deles era um garoto de onze anos. Todos ti-
nham vindo aboiando, para center o boi muito bravo.
Assim entraram na sala e o cero feminine cantou em alle-
gretto: (ver misica n.0 1)


JA estava tao triste
jA estou mais content,
por ver mcu Janeiro, au-&,
pela porta a dentro.
Quern tiver seu boi
prenda no currA,


qu'eu mio pranto roga, .a1-e
para boi roubil.


Levantem pastores,
levantemn, ver v&,
venha v6 Janeiro
onde vem Icbeb.


au-c


Cabe salientar um fato curioso. R a mencfo a Janciro, de-
vendo aludir as janciras, clque sio festas portuguesas do cielo
do Natal entiree a noite de Natal e o dia de Reis), consis-
tindo em grupos de individuos corn instruments, que saemn
a cantar pedindo fjneircis, que sao presents e dadivas, o
que aqui chamamos de festas. Essa tradigAo veio para o
Brasil e revive nos ternos de Reis e e0m varios outrus fulgue-
dos. Nessa cantiga a palavra se encontra no masculine, por
uma explicavel deturpacao e confused com o nome do mn&,
on por se referir ao animal.
Depois de muita danqa, um dos vaqueiros foi vender o boi,
que continha cornm certo custo, e gritou, apregoando numa
melop6ia de aboio: P1 boi de canga, boi de canga, boi de


vwI\ttt




'nI







taquefjada, boi de montaria! Td gordo! A mosca entra pelo
fociinh e sat na ponta do pi! Apanhou um cip6 qualquer
Jtara finger que media o boi, exclamando depois: Eu tc
bcnZo! V"i desde a cabega (mostrou o trazeiro do bicio)
ate a ponta da oreia! Tudo isso era feito coin muita palla-
cada.
Ao mcio da cena o animal more. Nos bumbas do nordesto
So va uaeiro quem o mata. Aqui, a coisa nao ficou clara,
new me piuderam explicar. Num dos verses cantados depois,
qiue cito adiante, se fala duma feiticeira, mas essa nao apa-
wrce r-em a ela hia outra alusao. 0 fato c que o boi more.
Nao se canta tamb6in a lamentacao do Mileu boi morreu,
traditional nacqucla zona. iMorto o boi, vem um dos vaqueci-
ios, o menino, para fazer a division e a distribuicfio do animal.
A versao no e inedita, mas nem por isso deixa de ser digna
dce registo. Depois da distribuicjio de cada part do bicho,
Icita em) distico, o cBro cantava o estribilho: 6 idid, Aste
boi (quie te dd!
E assim cantaram a versalhada a scguir, com esta solfa, no
icesmo andamento da cantiga anterior: (ver miisica n.o 2)


Iii A



I. .. j;:



/' 'b


O peso da lingua
2 de D. Dominga;
A banda da car;a
En mandci pra Macara;
A trip mais gross
i dca munin da ro-na;
A trip mais final
fi dcssa menina;
A tripa gaiteira
f, das mogna solteira;
O pe da remela
C do povo da janela;
O pe da orcia
Eu mandei pra Goutveia;
Peguci nesta conta
De mim nio faz conta;
A ponta do pe
Eu inandei pra Vide;
O pe do cupiml
Fste fica pra mim;
Os quatro corredi
Sao dos men tocado;
0 ne da rabada
P da rapaziada;:
En pc-guei no sedtm (ralo)
Eu nao dou a ningui m;


Depois, com o mesmo estribilho,
boi. E comeou:


El fiz nm bicte,
Nao quero arengai,


O pi das costela
R das mogas donzela;
O pe do rejeito (mocot6)
t daqtele stijeito;
Os quatro mocot-
Essce da tua v6;
A banda do bucho
f do veio Tiburgo;
E a passarinha
L do seu Jaqueihinha;
O pe da quaieira tripp)
f do v6io Jaqulcira;
A trip do oco
R do tio do caboco;
E a cha de dentro
I de sen Nascimento;
E a chai de fora
I de mestre Vitora;
E o ne do file
Eu mandei pra Migue;
E o peso do rim
I de sen Z6 Martim;
E o coraIIo
I de snll Salomilo;
E o pi do umbigo
Eu mandei pra Evidio;


o vaqueiro foi cobrar o



Coimcro men iboi,
Nao querem me pagai


E contou os bietes que fiz, repetindo tida a versalhada
acima, np forma seguinte: (ver music n.0 3)


Eu fiz um bite,
Pra dona Dominga
Cobrando o dinheiiro
Do pciso da lingua.


Eit fiz ttnm bite
Miandei a Miacara
Cobrandt o dinheiro
Da banda da cara.
Etc. Etc. Etc.


Depois, os vaqueiros arranjarali unm remidio, forain scgredar
no ouvido do boi e este ressusciton. Celebraram a ale gria
da ressurrei-io comn este bonito Ariri, cm andamcnto vivo.
Register nas forms que instintivamente cantam. E depois
vira samba. 0 Ariri passou a estribilho e tiraram muitos
versos, algiuns dos tquais anotei. Enquanto dura cada verso,.
iuma das figures vem ao centro e danca, find o ique tira
oitra com uLmn rever-ncia. Eis a solfa do Ariri, que servia
de rcfrao aos versos anotados: (\er milsica n.O 4)


Subi prr ali
Dei)ci no frechll (Itto)
M\i6 c-ntninlta
Mlrce 6 i- lmangmia (cipd).
Sulibi por ali
De'sci procoiici
Menina bnonita
Pra1 nos namon i

Um (iiili de peix-e,
Dois tilos dc p-ia (pele)
Um tvijo nas mc(ia
Im taca nns vN6in.


Quando vim iA de cima
Passei no outeiro,
Qiueim iatllen omei hoi
Foi vocc ft iticeira.

En fui no cirnedo,
Eni desci nla sevcnda,
Niao quiro conveisa
com 1mi caiada.
Levante, Janeiro,.
Nao meta Nviergonlia
De Pedro Noronhla.


ISta cltiia Iquiadra 6 varialvel, para rimar comi o doneo da
c-as;i onde estai o rancho.
E dicsse modtl find o bumba, quc aparece, assim, em forma
i11itl pouco dcsenv\olvida. comparativamente com os lhaila-
(tos contgncrecs, apresentando, alibis, unm mimcro consideravel
(h, 1 ". sendo aqui naIo s6 muito rudimentar, mas
ainda uini parte apenas de imnta suite de ;lailados. As quoie
*s' li seiiulent esta\am ua espera, na ira;a fronlltcirica, parai
Scrleit claimadois, comno o foram na realidade, e sucessiva-
"""tit, a Burrcin-lhn, o liode eo Ua (ITbit.







O que estranhei, desde logo, nesse bumba, foi a presenga
de um cAro feminine, quando nos bumbas nio entramin, em
geral, mulheres, e o pr6prio papel da Caterina 6 feito por
umt marmanjo em travesti. Esse cAro, aliAs, funciona como
pastorinhas de reisados e, ao final de cada bailado, faz rodas
de samba.
A parte coreogrifica nao tern maior importincia, apenas a
danta do boi 6 As vezes engenhosa na mimica. Talami me
disse que no sertao as musicas eram as mesmas, o aparato,
por6m, era bem maior e a indumentAria mais cuida a.
As melodias, em sol maior, identificam-se, a 1,a, e a 4.j,
por terminarem na mediante e pelo inicio na t6nica, embora
a uiltima seja acefala. A 2.' e a 3.' comegam na dominant
e terminam na supertAnica. A 1." apresenta quatro frascs
regulars; a 2.a, duas, divergindo quanto a terminacto; a 3.a
e a 4.a, quatro, irregulares entire si, e, salvo a 1.a, o ntumero
de frases musicals difere das do verso, identificando-se, po-
r6m, pelo compasso quaternArio, pela tonalidade, constancia
ritmica da c6lula e empr6go de notas percutidas. Curioso
qiue os intervalos de 4.a just aparecem sempre com as mes-
mas notas r6-sol.
A digfio, ininteligivel, num canto muito nasalizado, tanto
que nao registei um s6 verso, por ocasido da cantoria, scnqo
depois, pedindo As cantadeiras que os repetissem pausada-
mente. A irregularidade do metro 6 tamb6m curiosa e mais
curiosa ainda a maneira pela equal adapLam o verso A melo-
dia, comendo silabas on ajuntando outras se ha mister. 0
inesmo process, anumentar ou encurtar a melodia, nao os
preocupa de modo algum.
0 brinquedo, por6m, a nao ser no final, quando o pessoal
cai no samba, tern o aspect ritual e grave. Tudo se faz
com solenidade e as facecias dos vaqueiros diverted cs
assistentes, mas nao perturbam os comparsas.
Depois do Boi, foram chamados os outros grupos de bichos
a que ja me referi: o da Burrinha, que ji o register na
2.' edicao da minha Histdria da Musica Brasileira
(pags. 242-243). A danga do Urubiu mimica e mais pa-
tacuada, nao tem, como os demnais, enrAdo. No do Bode sao
cantados versos muito conhecidos, como os seguintes:


A cabra pediu ano bnde
Umrn vestido pri Nat,
0 bode arrespondeu:
Cabra tu qu6 aparnha.
A cabra pedin no bode
Um chale de merin6.


0 bode arrespondeu:
Cabra tu qu6 cip6!
A cabra pediu ao bode
Umn vestido pra Sao Joao.
o bode arcespondeu:
Cabra tu qu6 cachagio!


Depois dlsses bailaclos, entrou o samba: Cada mulher vinha
ano centro da roda, dancava com desenvoltura uma coreo-
grafia interessantc, algumnas com passes ligeiros de miudi-
nho, outras com requebros, mas, em geral, notei mais mo-
vimento de p6s do que de quadris.

Caintissari is a small place some twaenty-five miles from
Salcador in the State of Bahia. It is sought out as a holiday
resort, although, in point of fact, all the amenities required
for such a place still do not exist, nceithier, in omy opinion,
based on a short stay there, is the climate in any waay
superior to that of the Capital of the State. This is readily
understandable because it really consists of an enormous
sandpit, in whicl reverberation is intense. The centre of the
city consists of a small quadrangle, having a tended garden
in its middle, whence start the trails and lanes which, later,
twill become its streets. The life is that of the interior of
the country, tranquil, a species of dolce far niente.
On nmy arrival at Camtassari, I was advised that, otn Twielfth
Night, there had been a series of popular ballets, a Drum
beat, a Small Mule etc. It mioht be possible to induce them
to caitear once more. The ilea naturally pleased me and,
at night, along a verty dark trail, in the midst of the sand,
I went with some friends to see if it would be possible to
arrange matters. After ivalking for more than half an hour,
we came to the house of the Negress Talatmi (Mlaria Alarce-
lina), priestess of the place, born in Inhabuipe, a regular
negro zone, close to Feira Sant'Ana. She rwas already asleep
and it was difficult to awaken her. Eventuallit she came
to the door hearing in her hand a fif6 a small querozene
laitmp and permitted uts to enter. although with great
cauttion, thanks to the presence of the laciyor of the Citil,
who had also accompanied us. It was an adobe, thatched
huit witli a mud floor. Talani, a ivoman of some forty years,
greeted us in a reserved nianner, while I was gazing at the
peci, which is the altar there voodoo rites are celebrated,
trhicli was in a corner of the room, covered by a printed
cloth. Soimeoe ecvlainedl to her thie object of our visit and,
after a gnod deal of talk and the promise of gifts moneyt
and driok). it twas decided that, on the followtinir morning.
the Bull, tile Small 'Mule, the Crot and thie Coat would
go to our house.
It was nine o'clock lien the gang of ivomen appeared;
thle were dressed in tiitle, each wearing a hat of a different


colour. They organized themselves in the form of a trio
of Kings and, as instruments, had four tambourines and two
guitars. Pausing at the door they sang the traditional songs
of these festivities. After they had entered they sang a rural
song with the following refrain:


Olt! be blessed anbd praised,
The God-child is born.


St. Joseph teas walking
With the Virgin Mary.


All songs weie accompanied by hand clapping.
After these songs were finished, which took some time
because the doggerel was long, Talami asked permission to
call in the Bull, which, with the other animals, was in the
square in front. This was done and in came the bull, which
is an individual (in this case Crispim dos Santos), disguised
as the animal. This came in dancing, playing pranks and
endeavouring to butt right and left, now advancing, now
retreating, controlled with difficulty by the cowboys, who
were dressed in leather and one of whom was carrying a
red flag, in the centre of which, there were roughly
embroidered a bull and a cowboy with the lead in his hand.
I was told that there were three cowboys but, on this oc-
casion, only two appeared, which, however, is more in
accordance with the tradition of Mateus and Berica. One
of them was a boy of eleven years of age. They all came
pretending to control the wild bull.
In this way they entered into the room and the feminine
chorus sang in allegretto: (see music number 1)


I tewas so sad,
Nowi amt I content
To sec mny Jnuaryr, oh.'-O!
To see tail January, oh!-oh!
Conime in through the door
Who has a bull
Keep it corraled


I do not plant crops, oh!-oh!
For a bull to steal.

Arise o shepherds,
Arise, crnne and see,
Here comes January, oh!-oh!
Bringing the Babe.


The wveiht of the tongue
Is for Dona Doom ingo;
The side of the hiead
I sent to Macarios;
The thickest intestine
To the old countrywomtan;
The fiCest intestine
Bclois to this girl;
Tiie li cely intestine
To tice girl tcho is single;
The rhreiin of the eye
To Iihe iindolD.sill people;
The lobe of thIe car
I sent to Goiireer;
I picked oii t is part
Tnit leave otte apart;
The tilp of the hoof
I stenl to Vide;
7/i, tftil of tlie worin
Remains just for nie;;


A curious fact is here worthy of notice. That is the mention
of the word "January", which really is allusive to the word
"Janeiras", which are Portuguese festivals of the Christmas
cycle (between Christmas night and Twelfth Night). During
these festivals groups of individuals with musical instruments
go out into the roads singing and asking for "Janeiras",
whliich are presents and gifts, here known as "festas". This
tradition was brought to Brazil and survives in Twelfth
Night celebrations and several other festivities. In this song
the word is found in the masculine, through some understand-
able corruption or confusion with the name of the month,
or perhaps referring to the animal. After a good deal of
dancing one of the cowboys proceeds to sell the bull, which
lie controls with some effort and yells in a cowboy chant:
This a voke bull, bull for a voke, bull for the herd, bull for
riding! It is fat! The fly enters its imuz"17. and comes out
at the end of its foot. After which he picked up a line to
pretend he was measuring the bull, exclaiming afterwards:
I bless you! It stretches from the head showingg the rear
of the animal) to the noint of the ear. All this was done
accompanied by considerable clotwning.
In tile midst of the scene the animal dies. In the rites in
the northeast it is the cowboy wiho kills it. Here, it was
not clear, nor were their able to explain to me rlho actuallil
killed it. In one of the verses subsequentlyy sung, which
I cite hereafter, mention is niade of a witch, but she does
not actually appear, nor is there anti other reference to her.
The fact is that the bull dies. Furthermore the well known
lament ".1y Bull has Died", traditional in the nortflern
zone, is not sung. Once the bull is dead, one of the coerlnys,
the toting lad, comes to divide up the animal and distribute
it. The version is not netw, nor unIuiJblishiedr; nevertheless
it is worthy of registration. After each part of the aninuil is
distributed accompaniedd hit a couplet, the chorus sang the
following refrain: Oh! heigh-ho, heigh-ho, this bull how'ti.;
given!
In this way theti sang the following doggerel, in this beat,
with the same rhtythlm as the precious song: (see music
number 2)


The runners all four
Belong to tIy grooon:
The end of lthe tail
Belongs to ithe iboyis;
I keep hold of ite tail
To none will I give it;
The enrld of the rib
To the dartse belongs;
The edge of the hoof
To that chap overthere;
The four oor:es l/iemiclves
To yoir grand mot/icr go;
The skin of ihe tripe
To Tinurco shall go;
Aind the spleen i itself
Is for Jaiuieiriniha;
7The fail of thie Iripe
Is for ancient' Jqiquirra
/The hone i/ilh tihe arrow
For ile sion of fiic yokel;







.3v


To Or










tto
'E,1












tV




4k



1









4. I




































Aw



gr j j.' .~
I. r









































q4





The inner midriff The kidney's whole weight
Is for Nascirnento; Is for Mr. Joe Martin;
The oui i..ff AniI- the whole of the heart
Is for i i. .... To old Solomon goes;
The end of tile steak The edge of the navel
I sent to MAigiel; I sent to Ecidio.

Then, iln the same strain, the cowboy proceeds to charge
for the bull. And ihe starts:

I sent ( note, Thle have catln ni bull
I don't iwish to prattle, and don't irish to pay.

Ile then relates all the notes he ihas sent, repeatillg tIeI
whole of thie aboc doggerel in the following wail: (see
music number 3)

I wrote a note I crete a note
To Dona Dominga Sent it to AMacarios
Asking for paUy Asking for Pay for
For weight of the ongiiue. The side of the hicad.
etc. etc. etc.

Sulbscquentll tihe cowboys arranged some medicine; they
whlispIered inlIto the car of the bull, whlicl came back to life.
Thet celebrated the ilapl)iness of thie resurrection byi sinllin
this lovely air ill allegretto. I have registered this in the wa t
inl wticli they instincticelj sing. Afterward there was a
samba. The alir became a( refrain and their sanlg Ilanyl erses,
some of Ilwhich I noted, one of the figures goes into tiie
middle and dances, after which lie brings ill another figure,
twith a bow. Ilere is the Irl,/thlm of tile air, tcitich series
as a( refrain for thie Cerses noted: (see music number 3)

1 climbed iup by there. Wh'ien I came down again
Came doiwnl oil tile roof; I passed Iby the hill;
A jealous woman 'Who killed ion uill,
Descrces the slick; 'TFras you, oh! Witch;
T climbed i i) bl Ilthere I i ieni to Iite corridor
Came down hy here; I came down the stair;
A lonely girl I wint no truck
To Sieetlieiartl with its; iWit anly mania's wife.
A kilo of fish Get it). oil Januariy!
Two kile:s of skin:; ont't make uis ashlameld;
A kiss on thie girl. Wte go to thle house
A toiicl ill tile vein; Of Ahr. Locbscousc.

Th1e last verse is caiiable and alticats rhiymes wiith the name
of the owner of the house which the group is visiting.
Int this wail the rite comes to an end; it is presented here
in rather brief form compared with similar ballets; Iever-
theless it presents a considerable number of differences, being
not onlit cery rudimentacrir but, ill part, one of a suite oj
ballets. Those icho iere to follow were waiting in the square
to be called, which was actually done and there came inl
succession the Little Mule. the goat and thie crow.
What I found particularly stroanIe in his, rite, from the start.
'was the presence of a fentale chlorits, becaisc, as e11 nerll
rule, women C do not lake part ill these rites and thie nill
of Cratherine is taken bi/ a fiouthll, usuaiiill ill traccsty. Also
this chorus acts s as sheplerdes.ses and. at the Cnd of ealch
ballet, performs figIures from tile samba.
The clhoreogralhic part is not of mucl importance, only tile
dance of the bull is sometimes ingenious in its minicryii.
Talami told me that in the country the music is the same.
bltl the apparatus muclh more considerable and the (11e
more elaborate.
The melodies, in C major, can be identifiedd, as to ille fil
and foutrthl, because tlici c ndt on tlle average and 1by dl
start ill tone, although the latter is accphalolus. fTI' sc1mu'
and third commence on tie dominant noIle an(d end rt IA('
supertone. The first shows four rI regular plihas;l he scold
two, differing as to termination; the llird and fourtll, iwMr.
irregular aonugst themselces and, cxccpting tlh first, IN'
11numiber of musical phltses differs from those of tile IL' '
biciing identified however bfi tihe four beatsl. by tillc folc.
the rthyll11mic constant of theL cell and lct use of tlle pol"
struck. It is curious that the iltercals of Ithe folrllt a"I1'''
a ipear with tihe same l)-G notes.
The diction is unintelligible, in an extremely nasalized Ct'a"-
so much so that I was unable to register a single c6rf'0
wiein llu were sung; this I was onlif ablic to d(o aflteriu
bh asking the singers to repeal lhe rclmes slowly. i
irregulril/ of tllc Inclw is also curious and slill "more curi'"1
is tle manner in whiich thie rcrsc is adapted to [he mlo1
swatllowing slillables or adding others when necswsi
same process, elongating or shoricaing tlhi mclodyi. (l1t's "l*













































































icorri thin in i fhie least. The porfo(rmnce, ( re, i rC exciepti
(it hie end wheicn hlei ill start dancing the .isainliii, has a
riltial and serious aspect. Even tihint, is done with solentity
mnd the various conceits of tlle coiclboi/s amuse tlle tiiidicrc:
but ho not disturb ithe'ir parllners.
After lihe Bull, the otllher grioupsf of animals Io which I liIire
(ialreadiU rcfe'rred were called: ithat oif ithe Buiiirriiiia (Little
liutle) wichi I have alad( a(iHC / i sitcd iln the second editionii
of il/ I history of Braziliain Music imagess 242-2-1:3). 'ITheic
dance of lice Crow is onre of miticry nid nosicr, not sps-
si.sinlg, (is tite ollhers i do, tilnl pilot. Ini that of tlle Goal
I Imany well known vercses lare sulng, such (s:

Thcl sic-goat asked c lte Ilc-goa T o which l l w itc-goal rain t'rod
A drtss for Chiristmas Day. AlIy (dar youi ncd the iani .
Thc he-goatil said to l the ,s/-goa(l,
AlI dear, dto you wcanilt a hiding?. ''Th .si-t nitl askd'i Itit It '-goatl
A directs for Saint John's day.
'The site-goao asked tii li-goal Thi It' i -gt o t said ti tlic i sit, Ot
'To ght'c icr a i[tcrit shiael. \Whalt you'll grit's a ruff tun the
Inc k.


After thllse bllcls, tIre .simb cl(tile iin; cacli iconaii calmed
into thie iiddlc of tlie riniig, iand dranced tln intereslingii diiiire
withi great ilieliness; some iLilli si ll, /li li sit c s, olicers
will somi e tviantoness:; hoCcLrir, on lihe i/ lholc, I obscrtedi
Miior.e iii'imiciiels of tile fed tihani of lie hips.























































Prai a dos Tres Poderes c Palaicio do Congresso Nacional

Plaza of the Three Powers and Palace of National Colngres"


Crhanismo C(// i? il i n,,,,i'i Lufcio C(osta
Arcuiletura .1orhi ,,Iitr Oscar Niemeyer















































































1






1. Mlinetai i I't Praci dos Trdo ".s P'ordere. A.
cetilro. en, printeiro piano. paijl rio do ( 'itlC lre--o
Nrinnalt: d (irita. |'Alcii do Supremo. v. no
fuindl. I .jlin do (In Planillo. 2. Rjrlro uli>o (li
trechlio PrlI:a dor TrI, Podlre,. M-iuldo oI
"". Pilbito do arquileto Lucio Co ta.


fi the centre. in Ithe foreround. the Palace ii
lite Nationtil Congress: on the righ-lt tilt) PalaCe
of tlle Suprneme Fe/eral/ Tribunal andl. it till
''a" ''kLroun Il, the pIlf.I e of Ithi Th ll l'll elaln
2- RepIrodrct"ion of the stretch of I'lhe Plza of
the TIhr architect .,cio (:Costa.




























3. Maqueta do Palicio do Congresso Nacional. 3. Model of the Palace of the National Congress.
Em primeiro plano, a plataforma dos Serviyos In the foreground the platform oj generall Servirer.
Gerais. com a Camara dos Deputados a direita, with the House of Deputier on the right and the
e o Senado a esquerda; ao fundo. dois h!ocos de Senate on the left: in the background. too block
Serviyos Anexos. 4. Planta de situaiaio. of Serrice annexes. Plan of the situation
Site) .
3





3 B^^HI^^^^H^^^^^--^^-^IH^-^^^B^^^^^^^11^11^1^-^











^^F~~~ S!~^I^ ^^









































A U' i d I i.'il" o< 'f fi Tblan A[, Supremo Tribunral Federal. Supreme Ifedrual Tribunal.











bim corn aceci(so e circutl;lani iondrpendc ntcs, so
manterso contato coi) os confressistas n1os p.irla-
todos oil qua(dlo convidados iias salas dl audioin-
cias e cafe. Sob os pleilirios fora1ni localized as as
salas de taquigrafia. dlatilojrafia. tradiltorcs, arqui-
vos, etc.. (lir(taniiitc litiedas as salas d(Ie sssao.
- Em dois blocos separados dc 25 pavimenitos,
ficario os servixcos administrations. a biblioteca.
restaurant e 600 escritorios para os coniressistas.
Anewo ao conjunto, foi prcvisto 1001 salao de tele-
visio onde 5.000 pcssoas podcrio, dirianiicntc,t
sem mainres formialidades, assistir is sessi'es.
(Os Pi ':i teraot capacidade para 1.000 pessoas.
2i'' .2n jirnalistas ce 200 conIvidados, almin de
l'- para 700 dfeputados e 100 sciiadorlies.
lii, Arquiiitet6iica
- Arquitethniamentt., ,in prcdio coiio 0 do Con-
9fi- '> icional dv\c scr caracterizado pelos scus
lmin.r al..' fundamcntajis. Os dois plcinarios sao 0no
caso ses elemlcentos, pois ndles (- ilue se resolve 1
s grandes problenias do pais. Dar-lics inaior Cin-
b 0ase foi 1 nosso objeti\vo plAstico, sitouando-is ciii
'.1i,,,, ,,i,| r.splanadtla inde siias formnas sc desta-
cam conio verdadiros sili(bolos do podcer lcgisla-
li"- Ao fund. contrarianido a linhala horizotiltal (dh
esplanade, erriim-cii-se is bli)oIls ;rdiiiijistrativos, (101
ano os mais altos de Brasilia.
No pr6ximno niimiro. Modulo coi ipletalr a piublli-
ul ,la IPra;ia dos Tros I'Potcrs. apit'Sscintanido os
' F.d e Pral.cio do Planalto ( do Supremo Tri-





I,,, a .I 2. IPl .1 io
splnd ionatneio. Lao..
Fortim de Pajlmeir~as ImperiIais. 1). Sipenmono

I 1 i ( sil. '13. EsI; ja i onjmen,) d(), CIonjgressistas.


iie Lower Hows. 2. Ph1em1 of ih, Senati.
6.ak 0 rIneiadl j, (,acini Space.
S SieI l i p Ii. f i lPu ie. e1I1%
to' III di,,l. g







Moldulo presents ithe Plaza of the Three p,
planned by/ Lucio Costa, for which Oscar .'Ve
has projected threc buildings: National C
Palace of the Tableland and Supreme p
Tribunal.
As regards the city planning part, Mr. Lucia
expressed himself thus:
The most outstanding buildings are those
will Ihouse the governmental powers, and
these are autonomous and three in number
equilateral triangle seemed tlie elementary
most appropriate to enclose then; then too,
solution is linked with the architecture of r
antiquity. A terraced triangle was therefore
slightly higher than the neighboring areas
a(re reached by the highway leading to the A,
ilential districts and the airport (Fig. 2). Onej
Ilh/ buildings Wras placed at each angle q 4
plaza Plaza of tlhe Three Powers as it t0
well be called with Governmnent House and34
Supremne Court occupying tlie base of the triA
andill Congress at thlle apex. The latter 11 ,
broad esplanade set out on a second tewa
rectangular in shape and on a higher level in
cordtlance with the local topography. The app
tion of this ancient oriental terrace techniLtqul
modern terms. ensures the cohesion of the pr*
as a whole and gives it remarkable em_
(Fig. 2). M
As regards the Palace of thlle National Co
.\Ir. Oscar Niieniyer explained:
-'lan Adopted:
'li project comp)rises all the services relatinrj
thle L'pper and Lower Houses. The ideil
concentrating the two Houses of Congress in
building is aimed at achieving a more retlih
a(1rl economic solution of the problem, Wi4a
prejudicinlg fte independence whiich is indiaai
able to cither Ilouse, permitting, further, their
of scrricc' commlion to both (garage, restatmn
library, rest rooms etc.) with better and I
ample installations. Furthermore, by fixing I
Senate and Conlgress of Deputies in one bled
lllnumlental group will be achieved, able
domiinat. (s is desirable, all other buildiings
tlie city.
The project is made up of three distinct parit
1 Plenaries. 2 Administrative Blocks,-S8
Television.
Thle plecnary block, ldue to its complexity and
function, represents tlie funidemantal sector ofd
proirct, requiring principally thle greatest AC
section (inl( intiiacy beticeen it and on*ial
ewrrices. The solution aldolpted pIlaces the pleniii
inl a huge bloc with three floors 200 metres by
dlircctli, collected to tihe public and the p0d
(auditoriums), to tlie Ibar iand cafe. to the audia
clhamlbers iand( to those for waiting and receptbu
toI tIhe /Ircsidenct. thie rice-presidency, the iled
u'liartlrs and, oni the lower floor, to comnWm
roomis (1() auditoriums (10) etc.
Functional Properties:
Circulation, which is strictly classified,
guarantee comlIplete inrlependence to member
Congress. the pihblic. ))ress, visitors etc. Thew
(of thcsc shall have access through the undergvL
garage,r. or l on special day1s, through the greatly
As regards lle others, wllo shall also be p
fIith all cces'. and independent circulation, aw
w ill only I ( i ma itaintained with Members of4
hou inf t/i( auditoriums or then invited lo
rrelption rooms and r(caf(. Below the pkrff
haIr beeln placed tlli rooms for stenogra
typliss, trans ilaors, the files etc., directly conz
to lle meeting rooms. 5
In two separte blocks, of 25 floors, there wil1
the administrative services, as well as the liba6
restaurant and 60R offices for .1Members of CM
grl'ss. Attached to this group, a large feltW,
ro7rn hlas bieen rovid/e wherein 5,000 P0
daily ma he able to watch the Meetings, wimW
further formalities.
/IC'The plenaries will be able to accommodate i
p'rsoni.s'. plus 200 journalists and 200 pg"WIs
addition to /places( for 700 deputies a'il
sctators.
T'I/e Architectulral Idea:
Front 7n (architectural point of iew a bil10
s Irl( Is that of 11ie National Congress s
('ip1/lasiz its fundamental cl'ements. Int thi
Ili(esr fundamental elements are the td
,crfuse it i.s iclltinl Ilhese tllt the great Iw'"b,











Edificio dos servi(os anexos

Pa*imiilto lipo
Do I." .i I.11: Cm oIisofes, saIl; dc cr u nimii I)s 7." ;n>, 12.": D1 |);paII I-
Imenlo de ta: nigrafia, legi'latitiso c ad; iniii r itio. Do 13.1 aio 15.11:
1ibliitcai, Restau.iiir.iiic c Recepi;io. Do 16i.0 ao 27.o: Estiritorioi pair-
ticulares pairia dliputadilos c senadlorcs.

L.egeil.i:
I Flesadicies. 2. Ciriulat.itio. 3. Salas. -1. S.aniii.irio para sitilniiio as. 5.
S.iziii o pran hoIllitils.



Building for Annexed Services

Sivie of Filoor:
fIri... h the t. I, ito t hf h: i C .. i ntiltrre mirrntiig io r-in tIlt 71hr .
Ito the 121h.: S/.. ithandi andiil ttrriin. legfilatnin anrd ad iiriiitra-
ti(in h I. iin th 1I 0I 1hr litSi.: shran.. ltrtauianlut I ri r .t.iiu .
From hr litl. tI ther 27thi.: IPivate / fiir\ fo llrulir\es andi Seriiiiis.

lDrtail\:
1. li ti rlra ti 2. Cirrulatioinil. 3 It.i.. ii. I l i ineri,'i la/i'tiri.
5. .Me'N s I i'atoris's.


iI i


























A- I








Pavilhio do Brasil na ExposiiAo Internacional

de Bruxelas


Brazil's Pavilion at the International

Exhibition of Brussels

Arquiteto
Architect
Sergio Bernardes


1. M;NII|II(I;t vi-a do allo. sern it (1 cobertl (1] 1,
tIKO. IIolaiiildo-.r 1 tra.iiIIpI (f(ilitinii de: (]cxj,
;no ceitro. (s jlrdill (it d 111l Marx. 2.
(a eilrada piiri o i P.villin'Ki. Trvli(aiis (i ;i.o
foriiia; d' (I;t. t ii."riau. co i (is (. i Iquatro aploi ,s later,
per itri \;io lit' t Ii' I11 1 iliterior (I Exp siai .
:3. Ot"o u-ui:'cto (n da eitrdai (d PLivilji 0,


I. .Moldlc. see'rii from i/lborie. rifthout its pls,
Covering f/i: tih' coriitu i ous slope of thei exhibiting,
liiI ill tihe ceilre. Mr. iiurle Mlairx's girldens, m
be observedd. 2. I It'l of ithe eintrince to i,
'/arilioin. Steel lattticef i fit' form of 1 crinleni
itith ifor liileml s;pportsf. itve 11 Ire' tln ie n sp,
interior il the /i l'thliiiion. 3. Another asp
of flit, etrnuice to tli' Pa1rilioin. (s it till b,
Itn ii co'rred.































2












0 projeto do Paviliho do Brasil na Exposikcio ___________-_
Intemacional dcl Bniru las sc caractcriza por sua __
simplicidade e pclo eiilpri-go de inateriais moder- i /-
nos, prat c ni cos. A soluii<;o encontrada
procura tirar partido do local c das diferencas dc'-
niveis cxistentes dondc a rampa (iue sc de'en-
volve em torno de um jardimi tropical criado por
Burle Marx. c (cue sera protclido por um bljlao
flutuante de 6 mits de diAiicmtro. As limitacd(es or-
Camentarias. por sua vez. decramn ori'clmn ao tipo
de cobertura quc se constitui de u'a malha de
cabos de aco cobertos coim places de linex. sohre
a qual seraio colocadas duas camadas de cucooinm
entire outra de 3 cm de concrete. Os apoios seriao
treligados e separados emi viios de 60 e 40 nits.
Tais apoios ficaraio situados nos mnatro cantos da
constmiao. (icue serai vedada ricla aplicacaio do
mesmo cicoouin sb1)re final mallia de arame.
Estas soloicnes tornarain mais cconomica a cons- 3
trugo., mantcndo-a dentro do cspirito provi sorio
de oue se dcevcria caralctrizar. 0 pavxillilo do
Brasil foi justaiillnte considcrado o imll )o' de
tida a Exposiciao.




The 7,roicct for Prno:i's Parilioin a(it thie Tltrriati-
onal Exhibition ato Brusscls is characterized bit its
simplicity and by I se s (, maIdc oif mod fern.
practical and economic material. VTlie solutifion.
adopted endearours to take c(adilantal'c of thie sit -
and of thc exist ng differences in 1rel iwhicnce
the inclined plolne surroundings a troical garden -
created bI, Burle Mary, 1h icli it-ill be protected
b a floating ballolu, 6 inmetrey inll diamietr. 7T1i
balloon wcbh inflated raises i 'l r oof (and iiclic; --
deflated permits it to descend. BRud''etalri limila-
"ons, iln their turn, gare ri se to hlie type of corecr-
ine which consists of a network of steel cbhles.
with linex blocks, on cwhicli tllhere ill ble p laced('l
two loiers of .clcoonim and one of concrete of
3 centimetres. The supports will he latticed and j
Separated il spanis of 60 and 40 ietres. TIChese
liPliorts will be placed at the fouir cor'nirs of tIie
hiuildii. nhi'h trill be prrotceted hi` tlie anm licj-
aii of the said filt i
These soltiouis m ad( ftl building morc
ecanoinli, ker'pin it llithill the i ororiisiolal sasp'ct
whiclk should ('hloractecrize itf Witli etiiri jitsticr'
the BrailiaIl Poiilioli lvas blId to b(, thu filicst it,
the whole Exhibitioln







































-'I


Piso Inferior
1. Area da E.xpaosi;o (em rampa) 2. Area da Expositio (plan;a) 3. Jardins I.aIRgo
5. Bar 6. D)eposito 7. Rampa de said 8. Instalatacs Sanaitriarias uillherrs 9. Ilns-
talates Sanitarias Homitcns 10. Audlitorio cianmira 11. Palao\ 12 Iela 13. Catiaraiiis.


Lower Floor
1. Area of th, Exhibii,, Igrralient), 2. Planr of Ithr Exhib ition arria, 7, Grn,,
4. PIool, 5. Bar, 6. Veant, 7. x laxlitiH. 8. IHIorn's 'a oilet 9 AMei'a forllt 10.
Auditorium C ainema, 11. 1,-,aa, /2. SITrI'I, /1. Dra ag HIaauIaa (A.lrlists


3"'




j
-iS


ji ~j;~
ii'


Li



Piso Supe1rior
I P ar i <-lherto 2. I r.adl.a :1 Iforman]., I ara da ixsi(* so (cmn rampa) 5.
'.ai/] In i.a inl ia 6I ( o ral i ll pisali itlffri lr 7 V\ tlil.]. io ( ;das illst.llla( cs sanmili
8 \tis-aaa I 1 t ,raatsn 10 ( .iliina (al projci..io II Dell)a Hsito 12. V:l;aIio do auditl 1
in I alc .a 1 I (..aila. ins.

(lpp'r Floor
I ( rI,,rI, ad 2 2 1,ta1 ar. II f u.a, t I al.a, I 1-rl la I, f E /hibation (ra) l di F ld ,
S Ifa Ill I' l, /I aa ( ala III la. V I 2 a .l wlaat aa I.. ill a aa Scren'
II Ih, aaaoaL' ltIa(... I- itala.


R&W. -



























Situa5o Planta da coberta

Site Plan of Roof




























Subsolo
1. Caixa d'iaua 2. Poco dos ele\ adores 3. Sub-csta'cao .1. Illeiador
Privativo 5. Equipamenlios de \enltilatao i. Sala. dos tesouriros 7. Casa
forte 8. Deposiio de miateria:is 9. Hall de wsrTico 10. (.Casa de bombias
II. Incinerador 12. Incendio 13. \Vcntilacio.

Basement
1. IWater Tank. 2. Elevators Well. ;. Sub- nation. 4. Private Flevator'.
5. Ientilating EquiPment. 6. Cashiers' Roomn, 7. Strong Roon, S. Store
house, 9. Service Hall. 10. Plump House, 11. Incinerator, 12. Fire-
fighting equipment, 13. Ventilation.


Pavimiento Terrco
1 11.111 die Ilu liii ( moinli pil 2 FIt.A]tdoi] Iimii pio :1 Fcl i.llioTc
paritilvlK ltoH rt lida *. 1-fle\tador pri\.timt I S.in 11i tI iI So l[till v pi-

IlI 1 it I (IIi i n 7I I rs itI i i.i)n l(da ( I I I iv 12 l inti l 1i3. Vent1.11-
0io 1-1. QUi;adliu de clctriLid.ade 15. GC.li;ia.

Ground Floor
I1. 'Public Hall (Penionl, 2. e aliaori IPensI iinI. i F lvatoi,,
RevIenue floors, 4. PIrvate Fleatoiir, 4 I ,onrr' I tiler '- P ibl h
l'oanients, 7. Trreaury, S. C( hier] r I S'rii Hall. 10 Publu Hall
(R er nue -looii ,r I I (f Gaitage. 12. I Ir fighting reqiil innt., I Irtltia
tion. 14 El trtl lw 5 l liutilh I 15. Gallr,).


Sobreloja
1. Hall de purblico 2. Eletador monlepio 3. Poco dos cleo\adores 4.
Elevador privati1o 5. Sanitiarios homes, public ti. Protocolo 7. Sa -
nitar.o, homers. funcionarios i8 sanitarios multhcres. furncionirias i).
Hall de sernico 10. Assistente do tesourciro 11. Lixo 12. Incendio 13.
Ventilacao 11. Quadros de cletricidade 15. Gabinete do lesoulreiro.

Entresol
1. Public Hall, 2. Elevator (Prenion,, 3. Elrator IWell. 4. Prvart
Elevator, 5. Men's Public Toilet, 6. Protocol, 7. Men', Toilet -
Officials, S. Women's Toilet OfficIals, 9. Service Hall, 10. Assistant
to Treasrir, 11, (IGarbar e. 12 Fir- ic i t's iequtipirnt. 1;t, I rnttfita-
tion, 14. Electric Switchboard,, 15. Trrneurer' Offire.




19.0 Pavimento
I Hall de Plblico 2. Elesadores Mlontepio 3. Elciadores P;lintittiioi
Renda 4. Eleoador Privatiso 5. Sanitirios Hornens, P'iblito i Sanit.iros
M.ulheres, Publico 7. Sanilirios Privati\os 8. Molita Calrga 9. Hall dc
Srria,o 10i. C (opt 11. I.io 12. IncTndio I1. \", tilai.;io II. Quadros dc
Eletricidade li. Sala de Fspera 16i Sc(rctaria 17. Sala de Jogos 18. Siala
de Estar 19. Salao de Festas 20. Geladeiral

19th Floor
1. Public Hall, 2. Flerators (PeIsiorn), 3. El Fiators (Rflfnure floo,
4. Private Elevator, 5. Almen's Toilets Public, 6 l imrn's Toilrt -
Public, 7. Private Toilets,. 8. Goods Ilolt, 9 Servire Hall, 1i f iller.,
11f Garbage, 12. Fire-fighting equipment, 13. Ventilation, If. f Ifirtrn
triltfhboardl. /i Iattiing roorn. 16 Secrrtariat,f 17 R- reaction fo-, n,
18. Waiting room, 19. Ball room, 20. Refrigiroafor.


7.0 Paviniento
1. lHall de ptibliun 2 fla\. dorci montepio .i Fl<-\c.idore p.m mnvollJ
r rid. I it %irv.idlor vrn tii _-i N nit ri on s h iin I i .. Iml)lii h T S.l-

rnoi i m llicres. fs, in lontarm., f '.sitit.armis c b.ailiciro prv.lti o' 101) (op'I
1I II\,t. tlr s lcr. v2 11i irtrl [ dl lIcrin.l i 1i2 Iiin .Tdio 13 \ri lil ..llf 21o
1I Quadro, de rclrr d.idv 1I S.la de csim-.I d(o ditrtor 16 Sa -lan.i
17. .\Asst-r rcs IS (..tlin'tf do dirr lor Ii .\A-ris lnt c li t .l. el r21n 'MSa* d
21. ltlioll t-i L''' i2 al. dc -Iera. 2. 1): s.j de .Inlilrnswr,.1d 21*
)io .1o dtc du twni-flii' iii c i n-i -, 2f, I crr.oii. -7
M1astru.

lth Floor
1. I'ublr Hall, 2 1Ht,.l P ni..nr R -i. F l ifr,, filr o.ii I loi .
. P'riatr Hf irator. i. .Mrn', Tllr -7- Publir. h i .....r.l T.ilet -
I'ltlh r, 7 n's Tli f irt (- Ilff,, il. t. \\ en,' Tf lort (-Oi ,satil 9
Privl ate Toilr flathrtt I .\.illn, II.i (.M.r1a1cr Inl ..- h lCl imig
materials, 12. Fire-f fighting I*it it! 1 Ienfiti!atii. 1 i Fir, trick
\;ritrl, i c ih rlf1. 1i Iw,i ,,,r.r : 1iiiin ritmr I/". Sro I a! ,1 1I I O, .
IS I) r, I,,t ff, ;n lI,t rt. 2' 11f,.1,, lf i. m. 21 f lfiro, 22.
IVaitini: r. .m. Ad. .l.minitrn on II; w ,1. 24. C ...ntij l DIO nim 2'
fIn itmrnt, tfit ii!, I, i n,. 2t T rr ,a h27 .in..

20.0 Pavinimnto
1. Hall de I'ublb ) 2 Fl2c1 idor<' \ IMonI ptio 'i. FI' jdmorrs P.nm nentos
Rcnda I. Flc\;tador IPslniti 1.intlarios IfIImIns fi. S.anilan rl' M 1I-
Diervs 7. liar S. Monl.i ( m. II 'I .1lA dc S \cr i 12. Il]'llndio 11:. Vr 1nulld.I.I) It Q0 m n 16. Chap(.hrpl.lr 17 1 o, i i I nudi io

20*Il Floor
1. uI'lir HUn1t, 2 f.nlir,,f if nn, I Hf r tlr, i lif btriii fi ,fr.,
1. Private 1.1; actor. 5 .Mrn', I .l. 1 t, 11ionrn, 'i Tmlet, 7. I1w. V.
G -oolf liHo 9 tor \ irr r e ntll. 1o. > iullrr\. II. ,aibhnatr. 12. I irr-
fighting eq iniuom nt. I ? Vlrohtlia l... I I P 1r ri, u it, It bo rd,, It I R -
friag ratr-. It .l mnkol ro mi 17 Il r, i T. Ir llvrltormoi.













arquiteto
architect
Affonso E. Reidy



Edificio do Montepio dos
Empregados Municipais


Municipal Employees Pensions
Building








Este edificio sera a sede de uma instituicgo desti-
nada a conceder pensdo e auxilios de assistenci;i
social aos beneficiaries de seus contribuintes.
O terreno faz parte do piano de urbanizacgo da
Avenida Presidente Vargas e fica situado na es-
quina desta corn a Avenida Norte-Sul. 0 edificio
teri 22 pavimentos, uma sobreloja e um subsolo.
Suas principals fachadas serao orientadas para as
direq6es sul (Av. Pres. Vargas) e oeste (Av. Norte-
Sul). A face sul, orientagio ideal no Rio de Ja-
neiro para localizagao de escrit6rios, por permane-
cer durante quase todo o ano na sombra, sera
totalmente envidragada. A face oeste, duramente
castigada pelo sol na parte da tarde, seri protegida
por um sistema de quebra-sol parcialmente remo-
vivel, permitindo visibilidade livre para o exterior,
nas horas em que o sol nAo incida na fachada.
O quebra-sol projetado e constituido de um con-
junto de places horizontais e verticals, em concrete,
formando uma grelha, descolada da fachada, cujos
minicos pontos de contato sao os consolos que a
ligam aos pisos do edificio, permitindo o estabele-
cimento de uma continue ventilagao entire o que-
bra-sol e as esquadrias. Dentro das grandes ma-
ihas dessa grelha, deslizarao verticalnente per-
sianas de aluminio, guiadas por trilhos laterals, cjue
serao acionadas por comando de manivela situado
no interior do edificio, que Ihes transmitird os
movimentos de rotacgo e as recolhera em rblo
situado na parte superior. A parte fixa do quebra-
-sol atuara como element disciplinador do jogo
extremamente variado, embora cheio de interesse
plAstico, oferecido pela diversidade de posicges
assumidas pelos elements mr6veis (persianas), as-
segurando ao conjunto o indispensAvel sentido de
unidade.
A estrutura do edificio seri de ago, pelas vantagens
que oferece quanto a rapidez de execugao e grand
reducao nas seg6es das colunas nos primneiros pa-
virnentos.
O Montepio ocupard corn seus servigos o subsolo.
o pavimento terreo, a sobreloja, e do 2.0 ao 10.0
pavimentos, destinando para renda do 11.0 ao IS."
pavimnentos. No 19.0 pavimento ficarA instalada a
Associaqao dos Funcionirios do Montepio, no 20.'
o audit6rio. no 21.0 o restaurant e no 22.0 os
servigos e instalac6es auxiliares do edificio.

This building will be the seat of an institution
intended to grant pensions and social aid to the
beneficiaries of contributors to the Fund.
The site is included in the urbanization plan of
Areinida Presidente Vargas and is situated at the
crossing of this Acenida tw:ith the Acenida Nortc-
Sul. The building will have 22 floors, an cntresol
oand a basement.
The main facades wCill hare southern (Ac. Presi-
dentc Vargas) and western (Ac. Nortc-Sul) aspects.
The soutthelr aspect, which is the ideal in Rio
de Janciro for offices, because it remains in the
shade almost the whole of the time, w ill be glassedI
in. The western facade, which is scecrclh chastised







CORTE 'C I
CoftTE .CO.


21.0 Paviniento
I. RelaurinICe 2 Poo (dos I-. IC djci :i ( inha I I Fl .lnad r 1'm1 m.1lM
S (.rl lir.l 7i. S itri o, MuII aIni.Irm ,s llmnl-i S* S 'IIIl.
(.arga 9. H iall (I S-ri II) V-'111 4) \do t iliu ) t II I 1 i 12 lin ]li.
11. \ 'en iluri iuu I I. Quaulro., tlc lric idtulul II, ( .tluinu it Il'.ra]j i 1

21st Floor
I. Relaurant. 2 Fle ator Well. hAut h-n. 4 PrI' H L ,l .'
lritrgerator. o Il'ornr 'i 7 i/r T.lr' I'r t. .- (,.,1 lint..
S Sern icer Hall. l. Auditorm tnr pwe, I1 (.arrbag. 12 rte, ightnug
eqlurlpmenrt. I e'rw lationur. 1 fletr rr Sath I.oar ldi,. 14 1', -t ,,


S -

-TLiLE^Z



;1 r -- IL
2






t it m



.**1 _


22." Pa ilmento
I Hall l r u S<] 1 h, Rtuti i.ilr 2n I.mittin, I. 'I tm11iui, i i
'(.11iiutum.u III I1 1, cld ,r Ia I i 1t ht I K t.uI II. t I I..n.L.r I
gutti m 7 111 (lul iuaIL tl 11Iuu ( .argau (4 11a1l It S!I., up d
pI i., II \ ( I n I. uI m I, lt I[ \ I II.l .l. l II I ) co I ,,


22nd Floour
I \,I t lt l. IrIi r 1 :L RI T 2 \l. 0. ; ,, i' I,. 7; tr i ,rL .
1. i l.t1. r 1. R, ,,, ;1 rf,. ,i'rr L il Il',: 0l, ; li.,r,,,r
I Furiln..n I (, .It .l i, t.. lrr 11, :1. I,f W ( ,
; -' -/iil ,,, a lp rni, 1 I IRi ^ . I -, l| i,


A*















TRtCHO DA FACHADA


CORTE 'ASB







by the sun during the afternoon, will be protected
bi a sun-breaking system, partially removable, giv-
irng free exterior visibility during those hours when
the sun does not strike the facade. The projected
sui-breaker is composed of a group of concrete
blocks, horizontally and vertically arranged, form-
ing a grahing, apart from the face; the only points
of contact of this grating are the supports which
connect it to the floors of the building, thus
permitting continuous ventilation between the sun-
breaker and the frames. Within the great mesh of
this grating aluminium blinds will slide vertically,
guided by lateral rails, which will be worked by
Slecver placed inside the building; this lever will
transit to the blinds rotation movement and
draw the'm on to a roller situated at the top.
The fixed part of the sun-breaker will act as a
controlling element of the extremely varied move-
ment, although full of plastic interest, brought
about by the diversity of positions taken up by
the mlocable elements (blinds), ensuring to the
group the indispensable unity.
The structure of the building will be steel; this
has been sellected because of the advantages in
rapididtlt of execution and the considerable reduc-
tiio entailed in the sections of the columns of
the lower floors.
The offices of the Pensions Fund will occupy thli
basement, the ground-floor, the entresol and the
second to the tenth floors, renting the elclenth
to the eighteenth floors. On the nineteenth floor
there trill be installed tIhe Association of Em ployees
of the Fund, on thle twentieth, tlie auditorium, on
the tinenlty-first the resioaurant andr on the twenty-
seconid the auxiliary senrices and installations of
the building itself.









1. Maquela dlo edificio. 2. Detalhe do "bri-e
,oleil'' nmvel. 3. Criqui e\plicativo do funcio-
naniento do "hri-v -,oleil". 1. (orte geral do
edificio. i-la do conjunto formnido pela- e -
quadri;a e "l-rie -solril".

I. .Model of the Building. 2. Detail of the
nmorable "brise soleil". 3. Croqutis explicative
of the functioning of the "brise soleil". 4.
General Cross cut of the building... I5. iee of
the froup formed l\h the frames nnd brieie
soleil''.






1. Auto-retrato. 2. Cabo Frio. 3. ,a
rinlia.
1. Auto-photograph.- 2. Cabo Frio (Cold Cape),
3. Seascape.



















Flairio de Aquino



Jos6 Pancetti


HA 55 anos nasceu Jose Pancetti em Campinas,
Estado de Sao Paulo. Filho de imigrantes italia-
nos, sua infancia foi a de tantos outros pobres.
Desde cedo trabalhou rudermente e teve a educa-
lio precAria, que atraza e as vezes mesmo destr6i
tantas vocac6es artisticas. A doenga e a mnorte do
seu pai jogaram a familiar na miseria e o obrigaramn
a passar sua meninice na Italia, na casa do avo.
La as profiss6es se sucedem, desde operario numna
fabrica de bicicletas a carpinteiro nunma fAbrica de
caixoes de defunto. A Itailia nrao terA qualqucr
influencia na sua formacjio artistic; ate os dezes-
sete anos Pancetti praticamente nada sabe sAbre
a existencia da pintura. Depois de trabalhar como
moco de bordo num veleiro italiano, volta a Sao
Paulo, onde exerce os mais diferentes oficios, ate
que por fim emprega-se num atelier de pintura
de cartazes e decoracdo de residencias. Pela pri-
meira vez Pancetti tern um pincel nas maos.
Mas s6 se converted em pintor ao entrar comro ma-
rinheiro na nossa marina de guerra. Seu primeiro
desenho, publicado no vespertino "A Noite", ilus-
tra um combat entire o cruzador Bahia e urn
avido, durante a revolugco de 32. Ate cntno era
um ingenuo artist isolado e s6 tomara consciencia
da existAncia da arte como um fenomeno coletivo,
que exige relac6es reciprocas entire o passado e
o present, entire o que JA se frz e o que se podera
fazer, ao entrar no Grupo Bernardelli, que na
epoca funcionava no poraio da Escola de Belas
Artes do Rio.
De entao para cA, ou seja de 1940 a 1958, suia
vida esquematicamente poderia ser dividida emn
tres parties que se funded e completain: doen(a
(ou seja, consciencia da morte, lda percnidcacle, c
da antinomia que disso result: o desejo de viver),
humanidade (ou seja, amor pelos hiumildes, pelos
aspects mais simples da vida, interesse constainte
pelas paisagens onde o hurnilde ainda podle viver
sem ique a civilizagao o esmague) e pintura (quie
Ihe da a intuigco da verdade clas duas prinmeiras
premissas e que destas tira tanto a formna comno o
conteido da sua arte).
As influencias diretas sofridas por Pancetti forain
poucas, c quase sempre inconscientes. Sua pin-
tura apresenta tUo s6 semelhancas fortuitas, jamais
influencias marcantes. Poderiamos citar Van Goghl
e Cezanne a respeito da sua arte, principalmente
o primeiro, na fase cm que o artist esteve emr
Campos do Jordao; assim como poderemos citar
a pintura de Mlarquet como send a que mais se
aproxima da sia. Mas Pancetti foi sempre iunm
autodidata puraincente intuitivo, temperamental; ja-
mais foi um pintor intellectual, que reflete, e a
cada pass compara e miuda suai obra de acordlo
co-i sisternas j:i es:tabelci(los on em i moda. Siui
pintiira e senpre a residltanti direta dc lnia ai.iioa
temperamental propria, da intiiicao mais q(ii dI


reflexdo; cada quadro reflete umn ambiente apreen-
dido. usma acio instintiva, umna maneira de ver as
coisas. e antes de tudo de ingenuarnente semn
que por isso seja Ale um pintor ingenuo senti-las.
-uian obra muiito pouco se teria mnodificadlo se Van
Codgh on UCzaanne nao tivessem nascido. Da ex\is-
tAncia de Marquet s6 veio saber .nuaito depois aque
a sua pintura jai se lavia fixado para senipre.
As bases da sua arte sao simple. resultamr direta-
mente de sensacyes colhlidas pelo artist e sinte-
tizadas sem o a iutiliznCao dle abstracaes ientais.
A razao de ser ida suia pintura e inaediata c de
pronto acessivel a todos, de ond(e el)i silua popl-
lariclale emn todos os mcios. \Na realidadeo Pancetti
e o pintor brasileiro mais aceito por todos, dio in-
telectual ao hoanmac n (do povo. Narra semnpre umail
pcIuena aiao, ium petlueno cosimo coin o mianiio
de palavras. Talvez a paisageml maritinia. a qlue
se acostumou deside a infancia. o tenha marcado
para semnpre e nela tenha aclhado umna explicacao
para todos os sclls estalos de almna.
A paisagem maritimna, que Pancetti explorou comol
sel principal tema,. e a que menos acidentes con-
t6am, a que amenos detallies cxige. Stian utilizacaao -
ou seja, o granl de abstracao necessairio para quea
a mnesma se convert em0 obra doe artc exige g
um mininmo de dcforimaaio intellectual. Os grandees
pianos cle cAr uniformne, os esquemas diretores (in
composicao, as grandes linhas retas e abstratas, oil
levemncnte onduladas, jai estao contidas na propria
paisagernm. A Pancetti calbin apcnas (e nesse ape-
nas, lquo val tiludo. xeci o grande feito di Pancetti)
olhar coin pureza a paisagemn que o cercava e
dar-llie ru- conteilido liumanio. seni que ai figrIra
liaimana ai predominasse. "A paisagem arte -
afirma Leonello Venturi precisalmente porque
cxpressa o sentimento tdo sie autor, sem rosto ia(-nai
corpo hiiiano."
0 priiiiiro elemento artisticio com qie1 conta Pan-
c(ttti para converter uimai paisagein emi ohlira dc
artce nao 6 propriaiient o aiaor at paisaglem e siml
"-n a nor a vida, alegria de \viver. 0 amor ex-
clusivo a paisagenl o teria convertido nuni artist
acadenico, o amor A vicda o converted aim ni artist
mioderno. E isso tradclz-se atravs (l ta atimosfera
alegre c luminosa coin quea i-le envolve os eleinen-
tos cda paisagcrn. Suais cAres sao simples, mais,
antes de tudo, sao transparentes, claras, ondle o
azul e o verde predolminam nos seils tons mlais
vibrantes. Nao 6 uma alegria levada ao paroxismro,
mnas sim nmia ah-gria calina, contcIImplativa, aquela
que corre-sponde a imi liipido dia de sol senli
preocupaaCos. 'Por isso ais tons sao os Inais limpi-
dos sein ser os mais gritantiis. Todos laes estao
em equiilibrio siatil, -em armilonia intiima, tradiO-
zindo-se, taailhm-n, para o espectador, emocional-
imente, iem intiiinia hlarionia spiritual.


A luta comn a doenma, para Pancetti, quei nao e
um introspection, concverteo-se cmi desejo de iver.
ean alegria pela vida simple, calmna e contempla-
tiva. Isso o diferencia de \Van Gogh e aproxiia-o.
como jiA dissemlos, dc Marauect, cinja arte contem
os aaamesmos valores espirituais.
Mlesio quando Pancetti pillta paisagens naio ma-
ritinias. os inesinos valores apareccin.
Dois grades artists modernois Irasileiros pinaran
a paisageml serranai de C(:ampos do Jordaio: Lasar
Seigall e Jos6 Pancetti. Na Cpoca, Siegall era um
ihomemu rico e sem preocupa-oes cini a saiiale,
P.ancetti cra pobre c estava igravecmente doente.
Nestas paisagens dois temperamlentos opostos Se
re-velaam e iellior sU explicami. Nas belas paia-
gcens de Segall. tanto a cAr (no scu caso talvez
f6sse mellior dizer toil) quanto a laiz estao seim-
pre subordinadas a uma idGia dranmatica. a umn
desejo constant de exprcssar o lado triste da
condicai hiumana. Tudo ai A deliberadamente
sombrio. estaitico. pessimnista. As fonnas iniweis:
a cAr, cm que predominant os tons cinzas e os
terras: a constant aussancia ldo limpido ceu azul
ida serra: a perspective iem quel l o ponto de fuga
6 eliminado para qua todos os eleiclentos forniemo
n11 bloco monotone e unifonnec; tudclo. enfiaii, numa
notaivel unidade de estilo, revela, desde pronto,
(quie o pintor era um lomemlc triste, u11111 intellectual
(iie via I mn undo comn calmo c sombrio pessimism
e (qiec a cada moment raciocinava sobre as tristes
condicies da cxistCncia liiinmana. Ja as paisagens
le Pa'lncetti salo a antitcse dlas de Segall, apesar
cle teremaai sido pintadas no mlesilmo local e eilborh,
inssa 6poca. PaLncetti estivesse em Cstado de espi-
rito beia difieren-te dto de Segall.
Emii Pancetti, ao pintar Caimpos do Jordio, predo
mila mi lirisiio otimista. Predominanl grades pla
nos cle Ia, iintensa instintiva, a perspective ellm-
purrando a vista para long e fazcendo o espectadlor
percorrer os caminhos lum1inlosos (iue o pintor al
greilente fixa. h ii ai o dlinaiisino da cor, a aph-
cacnao intuitiva dos contrasts simultaineos. 0 tOio
a absorvido peila cor pura; o ciu, sempre lisivel,
ciontrihii para criar iuma atniosfera dc purea
frescura e otilnisino.
Emai amibos, a figure liumana nao aparece, ai
revelaramn, ,iem tAda a sua vida, profundo amor
pela liumancldadce c pelos humnildes, amibos pintaram
Campos dlo Jorcdao; mas comno sao diferentes! En-
quiianto Sigall nos Imostir 1111 aimbiente de opres-
s;io,. d, inutilidade dca fuga do hlomem para viver
111eIlor. iumai paisagei onde o air p)esa e un
angi6stia constantoe d: o clima humanalo, pance
nos revela os lngares mii que o liomcml pode ain
vixer leliz, onde a natiurea nlaito ao oprniane, 0
o ar puro circula.


















































Is.r -'--


.- .. ----

~*. --I -
- -'


..y-a'B .
-A "-

*at <


Em cada praia em que fixa sen cavalete, Pancetti
volta sempre aos velhos temas da juventude, inva-
riavelmente tratados por identicos simbolos plisti-
cos: simplificadco dos pianos, simplificacao das
cores, e disso result, logicamente, uma simplifi-
cacao do motivo e, finalmente, a realizaao de
uma arte simple, direta, nao intelectualizada. onde
a anedota nao cabe e o contefido resume-se em
emoao pura, na evocaao de um sentiment de
vida calma e num desejo de paz quase ingenuo.
Agora. novamente, Pancetti se acha gravemente
enflrmo. Apesar disso, pelo seu dtirio recente-
mente publicado numa revista do Rio, podemos
verificar ique a dor naio Ihe modificou o tempera-
mento. Revela ele o mesmo otimismo, a mesma
vontade de fixar as paisagens. jque durante mais
de vinte anos o emocionaram e que Ihe penniti-
ram expressar sua maneira de ser, de ver e de
sentir o mundo e a humanidade que o cerca.

Pancetti faleceu no dia 10 de feverciro passado.
no Hospital da Marinha do Rio de Janeiro.

Fifty-onc icoars cigo Jose POacetti iwas born ill
Camlpinas, Sitat of Sl-o Paiilo. The son of Itcalianl
immigrants, Iis infancil cwals tihe same ts flat of
other )poor people,. Ile orkcd hlartl from hlis
carl i/oiluth and only/ liat that precarious education
ichienti deals and somitiiies destroyi/s so manllf/
artistic vocations. Tice illness iand death of hi is
fatlicr broughlit porcrtit to fle family i and obibgecd
hIim to spencd his boihliood in Italy/. in thli holius
of his grandfatflc r. Tlicre lie moced firo job to
job. from a workman in a bicfcle factor ro a
calr-pnltlfr in a coffin factory. Italy will iha e i had
MIo influence oin his artistic' formation: up ft thfi
age of scrc'Utcc'ln Pancecttii kntc' pricltically nothiniii
about t!: cxistence of painting. After wcorkini as





















































































6






1. 'Pai-ageri l (Ciripo- .lde Jo lio. 5. Pii-a-
gelrn fle ca:;ipt- de Jorfl;iio. por Lar-ar Sei all. -
6. Laigoa do .Aletl. 7. Angra ilo, HIi-.

I. Landni scape (it Campos do1 Jordon. 5. Larn-
dsape lat Ca(nIpo do JordilO. b y l svir Segall.
6. Logndo 1 Aboe llbwt bof A Ii.l bke). 7. A n gro
ldos reis. 7


32






a steward on an Italian sailing ship, he returned
to Sdo Paulo, where he worked at all sorts of
different trades until, finally, he accepted employ-
ment at a studio for the painting of posters and
interior decoration. For the first time Pancetti
had a brush in his hands.
But he only became a painter when he enlisted
as a sailor in our navy. His first drawing,
published in "A Noite", illustrates a fight between
the cruiser Bahia and an airplane during the 1932
revolution. Up to then he was an ingenuous,
isolated artist and he only became aware of the
existence of art as a collective phenomenon, which
calls for reciprocal relations between the past and
the present, what has been done and what canl
still be done, when he joined the Bernardellt
Group, which, at that time, worked in the cellars
of thlle Fine Arts School in Rio.
From that time on, that is from 1940 to 1958, his
life, schematically, may be divided into three parts,
which unite and complete each other: illness (or
rather, awareness of death, of everlasting life and
paradox, from which results the desire to live),
humanity (or rather, love for the humble, for the
simpler aspects of life, constant interest in
landscapes where humble people could still live
without being smashed by civilization) and painting
(tchich gives the intuition of the truth of the first
two premises, whence are derived not only the
form but the content of his art).
TIhe direct influences suffered by Pancetti were
Jew and mostly sub-conscious. his painting only
presents fortuitous similarities, never marked
influences. \\ e could cite Van Gogh and Cezanne
aithl regard to his art, principally the former, dur-
ing the phase in which the artist was at Campos
do Jordao; we might also mention the painting of
.iarquct as being that which is most similar to
lis. but Pancetti was always an independent
painter, purely intuitive, temperamental; he never
wUas an intellectual painter, who reflects and at
each step compares and changes his work in ac-
cordance with systems already established or in
fashion. His painting is always the direct result
D of Ilis own temperamental action, of intuition
ratheicr than reflection; each painting reflects a
knoIwn ambient, an instinctive action, a way of
seeing things and, above all, ingenuousness, al-
tlhougli lie was not an ingenuous painter. His
work would have been little changed had neither
Van Gog/i or Cezanne been born. As for thel
existence of Marquet lie only became aware of
this long after his style of painting had been
definitely fixed for ever.
The bases of his art are simple. They result
directly from sensations experienced by thie artist
and syntlietized without recourse to mental
abstractions. The reason for being of his art is
innimediate and easily accessible to all, whencec
comes his popularity in all circles. In reality
Pancctti is of Brazilian artists the one most ac-
cLpted hly all, from the intellectual to the man
in theic street. lie al/ealw s shious some small action,.
sonic small cosmos w itll tthe minimum of words.
Perhaps the scascapLes, to wh/iic/i lie accustomed
himself from Iis infancy. marked hiim for ever and
int them lie imaiy havce found ln an answer to all the
different states of his mind and soul.
The seascape, whicii Pancetti cuploitcd as Ilis
principal theme, is that which contains least inci-
dent and requires least detail. Its use or rather
the degree of abstraction necessary for its coniver-
sion into a work of art requires a minimum of
intellectual deformation. The great planes of
uniform colour, teic schemes directive of the
com position, tile great lines, either straight aind
abstract, or sliglitly iractd, are already contained
in Ithe seascape itself. All Pancetti hiad to do
(and in this "all"', Whliclhi is iwort/i everything, liesc
Pancctti's great feat) was to look with purity at
his surrssounding/iis antd give them a human conl 't,.
without permiitting thle huliiman figure to predomin-
atr. "Landscape is art says Lconcllo Venituri -
exactly I'cauiise it expret'sses tlhe feeling of its
author. iwitlihout liiihuman face or body.'
The first of lie' artistic clements on which Pan-
'etti colts to concert hlis landscape into a swork-
of 1art is not /pireci'sf/,y loh(re for the landscape, but
love of life. ti/e joy 'of living. An exclusive lo
for thic landscape 'itself [could have made him
into ,an academic artist. love of life converted Iliir
into a modern artist. And this is transported


through a happy and luminous atmosphere, with
which he surrounds the elements of the landscape.
His colours are simple but, above all, they are
transparent, clear, with blue and green predominat-
ing in their most vibrant tonalities. It is not a
happiness taken up to a paroxysm, but a calm,
contemplative happiness, that which corresponds
to a limpid sunny day, without any worries. For
this reason the tonalities are the most limpid
without being the loudest. All of them are in
subtle equilibrium, in intimate harmony, bringing
also, emotionally, to the spectator an intimate
spiritual harmony.
The fight against illness for Pancetti, who is not
introspective, resolved itself into a desire to live,
into happiness with a simple, calm and contemplat-
ice life. This makes him different from Van Goghl
and more nearly approaches him, as we have
already said, to Mlarquet, whose art contains the
same spiritual values.
Two great modern Brazilian artists painted the
mountain landscape of Campos do Jordao: Lasar
Segall and Jose Fancetti. At that time Segall was
a rich man, without any health worries, Pancetti
was poor and gravely ill. In these landscapes two
opposing temperaments are revealed and explain
each other better. In the beautiful landscapes of
Segall, not only the colour (in his case it would
perhaps be better to say tonality) but also the
light are always subordinated to a dramatic idea,
to a constant desire to express the sad side ol
human existence. Everything there is deliberately
sombre, static, pessimistic: The forms are immov-
able; the colour, in which predominate grey and
terracota; the constant absence of the limpid blue
sky of the range; the perspective in which the
point of flight is eliminate, so that all the elements
form a monotonous and uniform block; everything,
in fine, in a notable uniformity of style, reveals
straight away that the artist is a sad man, an
intellectual, who views the world with calim and
sombre pessimism and who at any moment mary
ponder on the sad state of human existence.
Pancetti's landscapes are the antithesis of those
of Segall, although they were painted in the same
spot and although, at that time, Pancetti was in
a very different state of mind from that of Segall.
In Pancetti, when painting Campos do Jordao,
there predominates optimistic lyricisiim. Great
planes of intense and instinctive light predominate,
the perspective pushing the view far awcay and.
obliging thie viewcer to travel the luminous pathis,
which the artist fixes happily. There is here ihe
dynamic sense of colour, the intuitive application
of simultaneous contrasts. The tonality is absorbed
by pure colour; tile sky, always visible, contributes
towards the creation of ain atmosphere of purity.
freshness and optimism.
In neither painting does a human figure appear.
Both artists revealed tlirouighlout their lives a
profound love for humanity and for thie humble,
both painted Camipos do Jordao. But howu thicy
differ! lWhiile Segal shioiws us ain ambient of op-
pression, of the uselessness of the flight of main to
a better life, a landscape lwhiere their air is licavy
and tie hliuman climate is provided by a constant
anguish; Pancetti reveals to us places where main
can still live happily, whicre Nature does not
oppress, where pure air circles.
Oni eacl beach oin which lie sets tip his caies,
Pancetti alreays returns to teic old themes of
yioutlh, invariably treated lby identical plastic
symbols: simplification of the planes, simplification
of the colours, resulting logically thlrecfrom a
simplification of motive and, finally, tihe realizationl
of ian art, simple, direct, not intcllectcualizcd,
uilicrcin there is no place for anecdote and S itlieu
teic content becomes pure emotion ctsoking fth
feeling of a calm life and a desire for peace.
almost inigenutious.
Once more Pancectti is gravely ill. Ill spite of hiis.
lhotecvcr. from hiis diary, recently published in i
Rio dec Janciro magaozi ne, tr arc able to verify
that pain hlas not changed hIis temperament.
iHe reveals the same optimism, tile same ct'ishl to
fix landscapes, which. during miore thian tceeity
years, hias imoied himii and permitted him to express
hiis manner of being. of s'eing and feeling t1ie
world and thic hiumaniity Wihichi surround hiiim.

10thl February last. Pancetti died at thie ary
Hospital, in Rio de Jantciro.
















Brasilia emn exposicdo

permanent



Permanent exhibition

of Brasilia








1 2 0 president it a Hp Itiblic.a. Sr. Juscelino Kubits-
chlick, inauifliuroui, no S.il.o d cE Exposioc-s do M\i.
nistcrio Lda lAldUiiito v Coltura. clia 21 dIc janeiro,
.a Exposiciio PIcriiianiint' (Ie Brasilia. Na inesina
ocslsiao, o celcifei do Co\tirno lt a instalacio, na-
(iulce local, do C (ntro td Estudos (de Brasilia.
Emi scguida. o presidc-ntc- daL Coiipanliia Crba-
nizi/adora dai Nova capital l do Brasil. Sr. Israel
Pinliciro. pronilnciiiou iIIa pale-stra acomIpaInliada
da prtjei,ai d(t "slidesl loto-iir.ificis sobre a
conistruiao dc< Bras lia. Desdcc unt.'.ahlio a-sc aberta
io p;iilio a inostra por inciii da iiual poderao scr
.iwomp.anhadlos no 1io d(t Janeiro atra1 s cde
fotoi.Lralias. maillettas. i r.afico)s c dcseniilims os
trabalio na flutira Capital Fcdral Brasilcira.
Assion LeO111 acountceeii rccuntcmunte cin Milaio. a
E\poisiiao Permanentit d- Brasilia tin dcespertado
gcrandc iiit>rss<-s dali partci do pilhlico. Em seus
prinwiros tr'-N dias scgundo diilioto 11111 vs-
prtinoli carinic.i foi \isitadla ior aproximiiada.iinte
2.300) ssioas. Duralit)* as stuinitis ste-(iiintles temn
Sid ii.ianOtiido a.iflxlio cL' IadiO dC vititantes. 0
prsid ntci do Muscni de Artc Moderna dr e Nova
Iorqulit. Sr. Willian S. Burden, acomipanhado da
3 4 s]posa. cda Sra. HuIosll v da S ra. Pauilo Sampaio
cstIcTrani todns na icpoasit o. (|u- examinaram
dcti(diiirnt(. I Em coniciscn'-mia como teim acon-
tecildo oiii di' rsis ouitras pssoias a casal Bur-
dcn seintin-ws ainda mais curioso de tionlitcr Bra-
tlia. pois. coiiio diss oi president do Miiseu de
Art Moderna de N\o\a lIor qul os trabal)os vsta\aon tao a\an(uados." Convi-
aMlos pllo president da Nosacap. Sr. Israel Pi-
nliciro. is Burdeiin. jiiitaiinnte coin a diretora do
Musin drI Arte Modernia do Hio dc Janciro, Sra.
Nioiiar Monii Sodrn-. forain at6 Brasilia, onde
passaram itl dia c unia noitc.
Ao imcsiio tempo. o (Centro dc Estudos de Bra-
silia C. .B. -. instiallado no local da Exposi-io
IPriiiaiiiit dce Brasilia. desein olve a sen pro-
graina dtic ai\idadils cuiiltuiirais li;adals a constniao
lida fnitura (Capital Fidcral do Brasil. Al6n de
atindir aos intcrerssilos ciii obter dados e
inforiaCiiais sobre Brasilia. o C.E.B. orga-
niza ample proiraunia dc confriil'rncias. publica-
uiiis. rciunious c outros ijcios dcI llat los prin-
cipais aspcctos artisticos c cultiirais rulacioiiadoi
comi a sedc futiura do Govirno brasileiro. *Jorna-
5 6 lists, escritors, critics dI arti. pintircs.t esculto-
res c arquiiitetos t('ii sido oilidlos c offerecido si-
gcstocs conio a fini dci tornar a imais 6til possicl]
a atuaiaio do C.E.B. para as arts ( a cultural
do Brasil.
Mais tardc, strio convidadlas pulo centro perso-
nalidadces dc rnomic initcriacional para toniartii
part no aiiipli dchbat (Iuc co]i]porta o czigantesc3
iiprcciindiitiento.
0 clc\ado 111iincro dc pessoas (ile conmiparecerail,
t instalacio dia Exposii-ao 1criiiaiiente dlo Cenitro
d l'Estudos dc Brasilia 6 unias ,iiia d]uioiitnstrag.do
do inter-ss- c do apoio a conlstrui o dtl futiura
Capital Fedcral Ido Brasil.
Localizadla nos amplos sales dIa sol)rl]oja do
Ministrio da l Educaciao e Cultnra, na Esplanatl1




















































































1. 0 Presiden(te di Repiiblirii. Sr. Juscciino
Kubitsclek. na inaun;hura;iio. ntreo a Presidenite
da Novacuip. Sr. Israiel Iinlheiro. v 0,(car Nioinmevr.

2. A diretrira do Museu de Arle Moderna do Rio
de Jaineiro. alomllpa.nlhlda do Sr. .Iiyn iie MaIuricio.
ouvell c\illi(noe..s do Sr. Aigiusto Guiminarlis,
Fillio.

3. 0 enilixidor da Friianl( .r. Sr. rinard lHardion.
colnversa c0111 o iembaiix(dor brisileiro emi lonldrt-.
Sr.- A. Clateiuibriand. durante i iiituiigura(:'io.

4. 0 Pr..sidellnt( d(1o M,.elu d \rte A RlMode-Irnai. d>e
No\ lorquc. Sr. Willi;am IIIIrdIen. oie ais infor-
"'mo"cs do arquiterlo NijmiiM)1)r sohlro 0 Pal lirio
do Congrcsso Nacional.


5. Visitnnte? de todas as idades 1m comparecido
i E\po i(dao Pfermai(cnte de Bra.ilia: no cliche.
foto de ilateriis- de Bras;iia: area e pedra.

6. 0 P'lano Piloto. da autoria de L.i6iio Costa.
tern sido a;lvo de intlercrse geral. A oexpo-;io0 1110ns-
trai tainubeim o desenNolviiiiento (daquele pIano.

1. The President of the Republic. Dr. Jusceiino
Kubitschek. (at the inaliilurat lion. between the
P'resilent t of A'oracap. Mr. Israel PJinheiro and
Oscar .Niemeyer.

2. The Director of the Gallery of Modlern .Ar
of Rio dle Janeiro. together with Mr. Ju1me 3Mii-
ricio. listens to explanations from Mr. Aulsgusto
Guiniardes Filho.


3. The Frc-zch Amlbazssador. Mr. Bernard Haridion.
chats with the Brazilian Ambassadlor in Lond'm,
Mr. A. Chateaubriand. during the inauiguratioln.

4. The President of the Gallery of Modern Irt
of -\eic York. Mr. I illiam Burden. listens to
information gire:: by architect Oscar iemnie\er
about the National Congress Buildling.

5. Persons of all ages hare risitedl the Permanent
Exhibition o ')f Brasilia: ill tile clichli. photograph
of materials founil ill Brasilia: sand an(d stone.

0. The Pilot Plan. draltn lIp) by LI.cio Costa. has
been a centre of general interest. The exhibition
also shock's the development of that plan.


35






















































do Castelo, a Exposiaio Permanente de Brasilia
comp6e-se do seguinte: maquetas das principals
obras em execucgo tais como, o Palicio Residen-
cial, o Congresso Nacional, unidades de habita-
cao, etc.; fotos e desenhos (da autoria do arqui-
teto 0. Niemeyer) dos mesmos projetos, em dife-
rentes Angulos e cortes; fotogratias das obras em
fase recent, incluindo-se estradas, pavimentac-lo
de vias, etc.; graficos demonstrativos do anda-
mento dos trabalhos, pr6ximas obras a serene ata-
cadas e future desenvolvimento; models de iqa-
dros e murais encomendados a conhecidos artists
- como Portinari, Saldanha, Di Cavalcanti, Mary
Vieira e outros; amostras de materials de constru-
gao encontrados na regiio de Brasilia.
A principal caracteristica da Exposicio Permanent,'
de Brasilia e a sua constant renovacLio, perinitindo
que se tenha uma ideia da evoluctio dos trabalhos
de constnirao da cidade que serni a Capital Fe-
deral do Brasil. Seus "stands" foram organizado.
por Artur Licio Pontual.


On the 21st January, in the Salon of Exhibitions
of the Alinistr'y of Education and Culture, tilhe
President of the Republic, Dr. Juscelino Kubits-
clirk, inauguratedl it' I'eriuirmanent 'Exhibition of
Brasrilia. On this occasion the Chlief of tile Covern-
ment also installed, in the same place, tile Centre
of Studies of Brasilia.
Subsequently the President of the Coin panliia Ur-
banizadora da Nova Capital do Brazil delivered
a lecture accompanied hby photographic slides -
regarding the construction of Brasilia. Since then
thie exhibition hias been open to the public, making
it possible for people here in Rio de Janeiro to
follow by means of phlotograpls, models, graphs
and drawings the work proceeding in the future,
Brazilian Federal Crapital.
Just as recently happened in AMilan, the Permanent'
Exhibition of Brasilia has aroused great interest
in the minds of the Public. During tlihe first thlret.
days as was divulged by a Rio de Janeiro


caring paper the exhibition twas visited bir
approximately 2,300 persons. During the follow in
teeks the hiighl flowt of visitors has 'been maintain-
ed. The President of the Gallery oIf Modern Art
of Nsew York, M.r. \W\illiam S. Burden, accompanied
bh his wife, byi MAadaoim Russell and hiby Madai
Paulo Sampaio, a(ll visited the exhibition wh iclh
theyI examined in detail. As consequence of this
cisit as has happened tith tianiy other peop?'r
- the Burdens had their curiositiy and their desir,
to know Brasilia aroused herause. as the President
of tile Gallery of .MIodern Art of ew IL York said:
"ice had no idea that the witork itas so far
advanced". On the invitation of the President of
the Sovacap, Mr. Israel Pinlieiro. the Burdens.
together wLithl the Director of the Gallery of
.Modern Art of Rio de Janeiro, Madami, .\ioonar
.1oniz Sodre, t'ent to Brasilia. uliere tliheyi spent
a day arnd a night.
At the same time the Center of Studies of Bra-
silia (C.E.B.). installed at ithe same place as
the Penrnanen t Exhibition of Brasilia, is diecloping
its jp ororau neilil of ir lIInoal ra i ilji r1nnrli 1 wi oili
the construction of the future Federal Capital of
Brazil.
In addition to attending to those interested in
obtaining data and information concerning Bra-
silia, the C . B. is organizing an ample piograim-
me of conferences, publications, meetings arld
other means of discussing the principal artistic
and cultural aspects relating to cte future seat of
the Brazilian Government. Journalists, authors, art
critics, artists, sculptors and architects have been
heard and Iave offtered suggestions, so as to make
thie action of the C.IE.B. ias useful (as possible
in Ilenefit of /lite artv and tihe culture of Brazil
Later personalities of international renown it'ill
ie invited lhi tlie Ccni tre to ake part in ain ample
dlelate concerning this gigantlic undertaking.
The considerablle nomibcr of prople u-Iho iwere
present at lthie installation of thle P'ermianent
lExhibition and the Centre of Studies of B3rasilia
is a clear demonstration in of the interest in and the


7. A pecto parrial da Exposi ;io. no Ministerio
dla Educalr'o e Cultura.

8. Maqil ueras. fatos e dados relatives no Pal.icio dh
Alvorada.

9. Materialis dr cronnlrunaio. ai elquerda; e graifico
dans Ibras e fotos.


7. Partial aspect oif ih/r Exhibition at the Ministry
of Educatiotn and Cultu re,

11. Modelrls. phologranphs and dalta relating 1to the
'Pailacio da Al'orada.

9'. Building materials on the left and graph of
the worki and photographs.


























support Wgi '.L I to the construction of thle future
Federal Caplital of Brazil.
Situated in thlle ample rooms of the entresol of
the Ministry of Education and Culture, Es plan 5o
do Castvelo. the Permanlent Eh ibition ol Brasilia
is composed of thec followcini: models of the main
twork in prIore.ss such as: thie Residential Palace,
the 1National Congress, dwelling units, etc.;
photographs and drawLings (the latter bli architect
O. Nienlier) (If the same projects, with different
angles and cross sections; photographs of works
in their more recent piIlasc.s, including roads, the
metalling of roads etc.; graphs s'owingr the
progress of the w ork, the next jobs to be tackled
and future dedclopmient; inodels of pictures and
murals commissioned from famous artists such as
Portinari, Salldauha, Di Cacalcanti, Mary Vieira
and others: samples of building materials found ini
the Brasilia region .,
The main characteristic of the Permanent Exhiibi-
tion of Brasilia is its constant reneiLal. making it
paosible to form an idea of the evolution of the
work of construction of thel cityif hicli will be
the Federal Capital of Brazil. Stand arrangements
were umadc Iy/ Artur Licilo Pontual, of Modulo.


(9






ly.
*1*".*l ta:









'.


I :







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-

r. 'n '


)


.i


ii
r L ~
~r'
cg;' ..












I'*


Musen de Arte Moderna do Rio de Janeiro




Museum of Modern Art in Rio de Janeiro


L 0 Presidente Jn-relino lubil-ind. niomp.
"nhido dai liret, rni.l. t..iit a <1,o 1. \. k .. N i a. Nio.
wir Moniz Sopl'. t in pre-i (l.ite l .i ili-tituirio.
embaxi(ldor MauricifiO Na.luim. v do evimba.ii\1dor
britinio0n *-,ir" (;,eoffri I a.irrinll. libiiite de 11111
quadro de Ben Nichol|. .n. -- 2. Flauranto l t il,>


sene o ante,11 (<|l.am- l pa t ;e I I n r-,, 4 -l ic' l) l .a]vc d
Cle e o at, ai l a ,
nora inm1u,,r:ulda. 111 1 ,,.., ., lp,.,^,,] ,., , r.:,.
"a '4rent14 no "d '1. .: ao fundol, o pa ,o-
r a" i (14 ;n, nu,,,l.. 4.,, Pa o, d \Ile (k' 6 ..


1. president Juscelino Kubitscliek. occumpaniedl
in there c.ecutiiire dc irector ofill r Museum of Moldern
irt. Miliiiadam Nioiar Moniz Sotdr'. fihe Presidenii
of ithe 'iistitiite. -li>ba. ithe British u nxssador. Sir Geo fire Hairrison. ill
front of1 patinirinc by Ben N' ic/io/son. - 2. 1
s.i> lion of the fiemi scilt of /he M1IuCseumo of Modern Art.
bllloiri /i part of tilt nfi'l'eroi .s puboliir present (it
the oct. (I lI ihiliion rrnn s. ". I construction phase o(
I/it 1ir nllol iiiina ii rl iited' sholl. in.i lll f/ic n' Peroilai liol
tllf second floor: ii n thi bllll ackii rol tl/' I ipaii or i ( lt !
of llir bliii of G(.iiuiilniri. 1 ill ill, is r l.i .


Dija 27 de janeiro uitimo, solenemente, o Museu
de Artc Moderna do Rio de Janeiro instalou-se
cm sla scde definitive. no aterro da Avenida Bei-
ra-lMar. 0 modern edificio, projetado pelo ar-
quitcto Affonso Eduardo Reidy, ainda nao estA
concluido: inas a instalacao na parte ja construida
'nquadra-sc perifeitamente dentro do espirito do
NIM.A... Ique se tem caracterizado por uma ati-
vidade dinainica c ininterrupta em dez anos de
cxistcncia. Dentro dNsse mnesmo espirito, a nova
scdc ja so inaugurou comr a abertura da exposi(;ao
permanente do senll patrimnio. siinultancaiamnte
con iuma sala especcial do pintor ingles Ben
Nicliolson c outra. dedicada a escultores ingl'ses
contemporAncos. E. paia este ano. ja se anuncia
nm proSrama intense. coinecando coni a vinda do
Friedlalndcr. 11um dos maiores professors interna-
cionais da i(ravura ao miesino tempo que se
instalaran os clirsos dce 'raxura do M.A.M.. no
inais io10derno atelier do (iTloer'o eim toda a Ame-
rica Latina. Outro projeto da maior importancia
Co qne diZ rl a rstpeitoa iCt rosp'c.ti\a dos inestr.e
ibrasiloiros. Tanl l n'in n orecec, rcisto o program d-
lestivais do "C(in0i1a do Musenlil part inlarmieinte
Os do ciun'ia anmcricano. inglhs. frailes., italiano.
Sa ci min'altee(1a do Hio dre lalei'ro. Outras Lxpo-
sic( s 11derl101, (.'omo tLiln aIdonItx'ido nesta decada tal
proi1lcua dce '\ittdi'nia do Muscu de Arte Modcrna.























4.




I-


li ii nICitC, j)LpartC( itna C ditatvi l qit scja t;io jovcen
tao admiraivel iiistititi;;io. Coine inii.iativa (I 111 nil grupo (t (IltuIlsiastas, liderado por
1Haiu111111ndo (' aistro May\V. E, coIln inia dzia
dtl obras (de arte, ilnstalou-s nlias salas do Banco
Iolavista, por dl efrtincia do lBarato die Saavedra,
Ni)o se-Ai d(ineritorio para niiigucmi mas, sim.
plesnifente, uIII ;ito d(i justiga assinalar due de
lato, a vida do M.A. M. iniicia-s emn 1951. Foi
InaI(iquel ano (Ique. porC illiciativa d(os antigos diri
grti11tes, assli nIiu a sna dlirt','io a sniiora Niomar
Moniz Sodnr Desde o primeiro mlomicnto, entire.
1gOII-se illtril'allcnte tc I caIII)pIanIla. para tornar o
IuIInsI mais do (|uc o sonlho de till, punhlado de
idralistas: :a s'idora Niomar Molniz Sodre tern
si4, iiksts atios, a pro)pria vida (do M.A.MI
A Ie t II (1c 1do )11ielhor (di snia ind1iscutivel capa.
clid.lIt. No BIrasil. ho.,s Estados Unidjos, na Eu.
ire tla )nd1 (|ij r (|(IM" \A, sc iprl s) ocuipa e
'1 pi li-lMpa ('Ol ait iiIstithI0ll ) (II' (11l iCa Ina
lulitma v in ati-,i .\ CijnII rCali /Oll a tIas.lSCIrtinia do M.I A.MNI. pan
o MNliilrktrio da ILL 'du F l ar(ito r Cniltura. IIndc (ficaria
at, principios chstc ano. Foi cla : 1114,11. note e
di.. i inaio'.%i\cimcntt-, tramslormioi aViit'la sede pro.
1 r il ('ri. 1. 1 411 I po tos d(ti 4l/ iior ati \ idad< cultu-
r.l dA Uidi( IFoi Ila i nI, diaiit 111 do poLo or
junto :INs lassrs dirig ltus do p| is c (do str-iangriro,
pIssoni t-i arIrIii' 0 idral i'StOH do M.A.M.
0 Musu dr .\itr Modmrra. ieniros:uirt. entre.
II- -1>s(ta cidI) l (Io Hio d(t 4 nriro. I mijc uri.
p1 1 patrinoni enjo ( .dlor % .mIo sr podr c Il nlbir. poki
SItIt' (ij.rl I)'Ilntc'


()?I f/ll 2t l lI J I 1 /iisitn l1\lt. iit ( 11 s llim ll conlinenmor.
a1ti4 401. M/ u sili (' 4 1144 i rn r .\rt (,j Rio d(c Jancro
it 11s in lledi4 ( il in Its dl finf i 41a)1 Iion tthe land
r 4cla(ime4i / tr Iriit fit s (Il t .At ii (i/ HIIira .Mar.
T'l m i nimit ni bl iil itiwi, phiptlin (tl bi irchitcet f1.-
j4B I 4m I l.tlii rdl i Il)i(Iif. i 4n 11 t/ I ilish/llc hilt Ihe
tfallat i lii 44i ofl thi lt p iut alrcm4 l complcild fit
0 lirtlinbrblity tn llrt pott of fii ll MuIs11t1r n 1 f Modern
A 4.4lrt l/it4u h,11.4 itf (111 i/iif "1 7f list '1nce, ( lai

141 m ti llt Si till ithi in ti spirit, l i, n/ i u \cat ha
/) ly (( 1 )/ ii inii4 l urait tll i r1 lln u lit 4 ill tnl lln of it% poss iSiw ns. imul-
tf nt 4 ll4414 44 thl a f oil f "I I pf ,4m/ 4ho/1 ,I t44/
iL' l/ ti/ t If4 t \I, I w4 4ll 4144 II th I 4/4da (Ifhuit
t o1 I iti 4t m inp o r r/4 I j-4ih s,7u lp t/ 7u 1ilt, i44a r ll Tl
t/i ii luti lo s pr 1r nn1 4 l t in) i I 4 11 anoi r I riiiMd 'flrti'p.
1 u ilt n ifi l l f r 11hi f tll l il(l r. -ili 1t 4l t a44l t

l(, r 44I ct il (t fI m w il, I, ilsl hn n t) ii I fi ( lt ini .I
mItb r 1 i t4cl r 7ij i 4s k4 l in ill L) in .\mri't ll

.i tlul r li Ip l ,t t illii hi Iu t l il4 r i lc ii Mal
\l' *\ fr i t t.l r4 /i' I' i t 4i lif I tf Itiiliin V lttir, .
1 .mllit rit Ii nl. li n Fri u b alul Italial CiloilanIl

si4 4i7r t ultir l 111m 1f ti i n tl it ill fI/ ill. iti;. is tI
haMppe (I; Itll in th I l ist (If )4 wh tf (lt i" ic lisfite(nf
tie ll, Vifc1<1i ,f M mii rin .\il. It is rwalley inicredibl'

It it (is itlit i (I illul 9 n Is linitialilr of a/roup
Il en t i at1 /ii i s I"(1 ln I UmuIiIIII lo h, O wntr) M\lli).
I fo 1,1 lt ^ '111 iosili'l "); the P iIaI (( Saui'dra.
if (is I lus/ itlllr l in lli r o f fi ll, h B111o
Mimou ishl. till 'mb/ siIw Imll (ha l >(*d iworks if fill
It is ?wn hii111111"wr.t In a i h ll silpil; all
(10 I f llustire, to \talW llmt. il point "f fact. flit,
Iij, fii lIw %Ils, tilnl rfilly iiln l .51. I t ll
Ii Iililt lpw r fluf. (''" fill- il' itiaItirt (i f it% oil
d(firwialms, thie imimiemenlt f is criarusl (l /0 .11o"'(1
V1ionwr .loM niz Sodlrc. Floiii llfit (rvy first momll"'nt
%htc "mrI hlinsellf lilt fltirli i llt r (t "" "pai" l it)
m the Unwa III( Al iwitin rt loh n llir (IFcmilr of ` fel
Widalriiil liming thvselm ars 1aidam Nioiniar .110":
Swdrd h( I's h1. wiln tihe ret/ lifv of lIr 1A raI"n".- site
/ills givoll to it tlire N>st of /*r indisiulable all',
S otl lnd(l( ,ss r/ipewritii \\'li r(rr cr 4s w o"irs 13rari
( iteI d States. Euroj .lit is /l[tra/s O(Tilu)ed
a f c r riin l riith /I?( inliillionl (if Whir/ 41,
IIII(lioubtill is fllr 1 11ost l.ifiliinatl 1111d ind "lie-
III(, /,/ lIIf /)I,.( if Ih4 4lery to


Si ll o, I i'" and da,, lirrl, W 4 fran( fi







thaIt proi is.ional seat into one of thile highlights of
the ,greatest cultural activities of the city. It wars
S, sohe who, in the eyes of the people and those of
- . .__ 7 the governing classes of this country and abroad,
-^ .h care the incarnation of the ideal of the Museum.
-- -The Museum of Modern Art, generously given to
this city of Rio de laneiro, is today an asset the
S- V oalue of which is incalculable, since it grows
daily.








1. A-pecto da moitra de e-cultores inglLses, nO-
tando-.e em primeiro planoum ntrabalho de
eKenneth Armitage. 5. Conjunto de obras do
pintor ingle Ben Nicholson. 6. Foto-montagemr
do -Museu de Arte Moderna quando ficar construi-
do. 7. A-pecto da mostra do acervo do M.A.M.

4. in aspect of the English Sculptors' Show, in
the foreground one of the works of Kenneth
Armnitage. 5. A Group of painting, of the
A mEalish artist Ben Nicholson.- 6. A Photo-
*s 6 Mounting of the Museum of Modern Art, when it
should be completed. 7. An aspect of the shot(:
6 of the a -se!s of the Museum of Modern Art.

































N ,












































































1-P U B LI CO 0

P U B L I C

2-ESCRITdRIO
0 F F ICE

3-B A L C AO














































arquiteto: Sergio Bernardes ,
r), ilect






Agincia de Jornal e --'m


Newspaper Agency .)

3





4

A preocupagdo do arquiteto, na decoraQio desta
agancia, foi mant6-la dentro de umrn critrio de
sobriedade. E esta sobriedade que caracteriza todo
o conjunto, desde a escolha dos materials s das
pr6prias cares, limitadas ao pr&to e ao branch.
Tal solugio conferiu Agbncia do "Correio da
Nanhai" elogiivel sentido de pureza e harmonica.

The chief concern of the architect in the decora-
tion of this agency was to maintain a pattern of
seemliness.
It is this idea which characterizes the whole group;
from the choice of the materials to that of the
colours themselves, limited, as they are, to black
: and white. This idea has bestowed on the Agency
of the "Corrceio dA ianhli" a praiseworthy
P semblance of purity and harmony.


1. Vista geral da loju. 2. Detallhe do balimo.
3. Escada de ferro suspense por tirantes. le-
vando A sobreloja. 4. Escrit6rio na sobreloja.

1. General view of the Shop. 2. 4 detail of
the counter. 3. An iron stairway suspended 1b
joists, leading to the entresol. 4. Office on the
I ( aentresol.





























F,.



.t1 .
rl*



I:I


I I R I


S


, I







arquitelo: Ney F. (;onealves
arehilect



Agencia de Banco


Bank Agency




,Na dtcoracao dlcsta agcincia ida Caixai Econiomicta,
o arquiteto procurou tirar partido (da iluminat5;ad,
dand"o major destaaqiie c lcveza ao material enm-
pregadPo, para consegucir uni ainbicntce uniform e
agradi;ve l.

Inl /it decoration of this agency of the National
Sacings Batnk, the archlicft ihas encdeacoured t(-
avail of the ligliting, '" iciuinli greaiier relief and
liglitness to the imateril used, in order to atltain
a uniform and il r'Ceable ambient.


1. 2. Angulo da loji. nloltrandlo em dois flagrainte-.
arima e abaixo. a porta que. ao feclar. de-aparere
na esquadria. 3. Detalhe da caixa recebedora.
em aluminio. -- 1. Plant iii. 5. Outro
aspecto da jaja. vendilo--. a (equerda uni mural de
Ivan Serpa. 6. N i-ta di parede de fund. eni
aluminio e vidro.

1. 2. Angle of lthe Shop. showing in tw1o s.napshoti.
abore and below. the door. wlhichi. ichen closed.
disappears into the frame. 3. A detail of the
cash register. in aluminiumiiin. Plan strip. -
5. Another n.spect of the shop. on the !ef n na mural
by Iran Serpa. - 6. I rw of the bhrk call. in
aluminum and glass.







Paschoal Carlos Magno




Os mogos e o teatro no Brasil


Youth and the theatre in Brazil


Paschoal Carlos Magno teatr6logo, romnancista,
jornalista e poeta 6 umn nome ligado a grades
canipanhas cmn dois stores dai vida cultural do
Brasil, a quo tent prestado bons servitos: o estu-
dantil e o teatral. E foi na qualidade do verda-
deiro lider daqueles stores que Paschoal Carlos
Magno conceded a Mo6dulo unia entrevista sobre
Teatro no Brasil.
Depois de unia tase realmnente interessanto no
panorama da culture brasileira, isso 6, depois de
ulia fase que teni suas raizes no comuitoo dste
s6culo disse Paschoal Carlos Magno o teatro
no Brasil entrou no poeriodo (Iue podelmos cliniamar
die decaduncia. Nao so falava rnmais uiouia lingua
nossa e quemi assistia a urll spctAculo doe Ilossls
companlhias beni percebia co0mo o nosso teatro
ostava divorciado lda linguageii, tlos costumllIs, tldo
hlibitos, Cellfiin, totanmliente distanciado dto t spirit
do p)ovo brasileiro.
I la aproximadameiiiente into anus, raro cra o
ator national que tinhlla a coragemil dc falar "bra-
sileiro emi cena. Se teatro uniia roprelisenita'lao
da vida ou o prolongameinto da cuiltura de 11111
p0ovo, o nosso daquela 6poca nadLa dizia dL ils l
imncsiios. Lonbro-ine (iu'e o ator ilais failoso (da.
6poca Leopoldo Fr6es falava coin u1111 sotaqiui'
acentuadanlente lusitano. Era norma (iue o diai-
logo das pe,4as, mesillo aquelas consideradas pro-
fundamente brasileiras, aprsentasse uiina texture,.
lnma sintaxe (qule nada tinhl1.1a \r coin o Brasil.
Alen1 disso, havia no teatro brasileiro uinla indis-
ciplina total. Umn complCxo li\ re de f6r('as c
inonhuma unidade artistic.
Diante dresses ftatos p)rosSgue l'aclioall -
torna-se essencial ressaltar a contribhuitio dos Imo-
sos na transforinaiaio tda fisionwmiia do teatro bra-
sileiro. Queni conhlece a vida brasileira nao iinor.i
(ice LOs estuidantes participara.i de todos os iolvi-
mentos hist6ricos do pais. Abolilit-o, Indlepeldllln-
cia, Repuiblica. Serviu o Mlilitar obirigiatrio, c'in ri-
sumio: nuonca homvle. nesses 'iltimns 15 anos t
inesimlo antes. lna fase colonial, inliandoli x pr ,gLax
a liberdade nbrasileira, niminca lioe idia fi rIne v
tornasse vitoriosa scinl .1 oriscxi ., (dos Iio (os.

Os [jomlls
Sempre de formula intiosisitica, prolscs''nI IPasichoio.il
Carlos Magno:
Foi ai (que os jovens do Brlasil, a.qufles qii.
pertencianl as universidades, escolas e coleigios rc-
solverain coliborar para qute o Brasil tivesse 11111
teatro at6 entdo inexistente. Que fizeram eles?
Introduziram id6ias, pregaram metodos e sobre-
tudo bateram-se pela necessidade de entregar a
uni professional responsaivel a direct;io do espotai-
culo tcatral. Preconizarain o director. Ate eit.ito.
eram tins vellios atores ([ue ilnsi\lain as p.Ias,
ofl nei1 isso: "marcavain ats ncsin as, com1 pro-
cessos anacr6nicos, avoen'gos. sses i10(0o5s expli-
caram entao a necessidade de existir queni se
ocupasse exclusivamente da unidade artistic (do
espetAculo. U director trouxe para a cena teatral
brasileira a contribuicaio do figurinista, do cen0i-
grafo, que amalgainaraim novas floras. Portanto, o
tato ainda mais important do teatro brasileiro
contempor-Aneo foi a prcesnc;a do director.

O T.E.1.
Forain esses nIn)o(Os continuia o entre\listado -
na sala maioria uniivrsit'irios, qui(e ha 20 flo-nS
eriaran o Tuatro do Estldante do Blasil. Saibe-
imos do pIreoncmito entao existcntr contra o tcatrn
(cono profissao. Ningbil'm o considraxa, conio j I
so< fazia nontros [paiscs, unia profissaio dignila, niolrc
c ardna. Jov(ns dc ambll1os os scxos, co1n sd(liilnl-
taialo univ'crsitaria, virarail a o palco comi pclas
dec contce'ldo liniallano. Rsscs nli0(os rcalivaranm oi-
tros Inilagres al1in de inipor a j)r>scnnca do director:
destruiraif a presemna initil I anacronica do "pon-
to Ilutaraln pela co)llpreeno<'lsl IMlis ap)rollnldd.l
do texto e, por fiun, (destrilirailio preconi'c.'ito con-l-
tra o teatro. Healizarain rIcs ainda nina grandC
obra cedcacional. [Div ilgaram Sh1akes)lare, Ha-
cine, Corneille, S(foolis, l'urip nosso Martins I1'na, Ilbsen v utros. S<' a'io fosscm'
us [Il Ool t l C;1(r 1 do lstId ta llr i iandi ( (|ll
o Brasil iriai Ir ;a opo;rtlimid ldc (lt \% r Ilain I t,
Mar1 tli, Sonll ) d I'ma Noitc (It \y'rr:o, l onin i

Portanto prossegile Paschoal Carlos Magno
I ssf mio\ i nivilto, c aim ilx'']i] as '\pvri<']i(cias dc-


"Os Comediantes", (que tanta influfncia tiveraln no
Brasil e (quie segniram as pegadas do teatro de
Renato Viana e Alvaro Moreyra, provaram quI se
tornava urgente oa recupcra1iwo do teatro brasileiro
Todos subeinos (liue o teatro 6 10m ato de luinil.
dade. 0 ator replrescnta, 6 apllaudido e, terminado
0 esptaculllo, o que f[ica de sn1a representatqqo, da
soa arte, do seu genlio? Apenas a lellbran1,a de
11111 gesto mais expressive, de un1a voz. f verdade
que hoje hil o cinema para gtiardar o loviimento,
1iA o disco para guardar a voz. Mas, ne1In a arte
do disco, n1I ait do incema st1 o realmente iguais
ia i rte d(lo teatro. 0 teatro, s6, perlanec e no tempo
n1o 'espa[ol deflendndo o patrilinlio cultural de
Iun pais atravis dos scus aitores. Coube aos
11mo1l s, assilll, I alll r por ( sses ai tores E surgii,
entao, 11111 i quen teatro 1m1 Santa 'Tereza, no
Hio de Janeiro. I'm tei tro st in billieteria, coio
nas igrejas, in que lrlinglem pag. a pa.ra entrar
ein qlne, conl o nas igrejis, nos iitnterval()es l. e 111
ato piara ontro fazia-s circular nina baideja d,
prata para recollier as esp6rtnIas de queln isesSe
ajudar aquela vspj'cir dc mistica insistent" 3alii l.e
p|(ineno teatro. Iani,-ando atitorcs novos. Em quia.
tro a.i o dotIl ati\id lci., tcatrinhl o larii-otii 22 auto.
rnv tcatrais itd )itos. alignis lijic fallnoss COM:ll(
Francisco Pereira da Sil\va. Halucl Ide oIe irns.
Antinio Callado. Illeruinio Paula Fil o. Arislfte-
Ias Soares, Lro Victor. mnxitos los quais vieram
dto bairro para o centro da cidadc. rceber a ]Au-
ra national ida AcademIia Brasileira. R's InIeIm
teatro lan,-on parIa mais dre 200 intprpratns. t lion.
ra-se da primazia de ter dado a prineira oportri.
nidad( ao maior director tuatral do mominto no
Brasil. (itue (- lost- Maria Monteiro.

A critical

C(ontinna PIashoal Carlo, Mgno:
Mnitos iilill pcr1 int.i | s( aciiho quI lia boa tri-
tica dlc It tro no rasil. No Br.s11 l (xistc Pcritica
t(. aral o qui (j.1i 'x 11 boi n. P: v1rd1 d qx i i, nIos i tillin
tentrpo', ltin sitrllido \alor qure api-i ntain clrta
olrletL ia r to oi(Is al.lI(TllSd Crx io, ( .llti tIo, (iJ ir
i papI d(I1 1CritiCa no Br11 il o d(o conlis it rio
r.ipido c intclizentc v, anima de tudo. constni-
ti o. t prc(ciso pensar. I)lr raliaplo.os lie o Bruil'
i nlI paI s n tl orma ,. 'i nal o i p1)ossi\ l aquPi.
tratar ainda dos iassuntos com ia <;raiddre V a mno-
d 'ra-iio iai atingidas ll11 ountros paisrs. ft preciso
compreender como o esfiri o surging c fliniou-se.
Tcr unia imensa giencrosidade para coin a anore
(life usta crescendo. NAo maltrati-la nem fusti g-
-la s6 porque alguns dos sens galhos sa-o mais
tortos. Pt precise. comn m'io cuidadosa e hlbil.
condiir o gallio na direcao do sol. sem feri-lo.
f: uessta a sitaiafo da critical teatral no Brasil, que
eI tlo bloa e tao cheia de defitos como iqualquer
critical teatral de outras parties do miundo.



Perguntaiin-me taniiben prossegue o entrees ;
tado o (lie li.i de nolo no tatro do Brasil.
Para mini, o (life l a die mais novo na cena brasi-
leira nao C o teatro do Hio num o de SAo Paulo.
E, conmo j.a disse miai's dc unia \ez, essa fome eI
<|iie ('1 meIios de NintV anos ja teVios no Brasil
centenas cl teatros de estudantes, de bancarios,
de c m erchiriios, dc industrisirios! 0 (life lhi no
Brasil dc noo ein teatroaosn os festivals co1o1 o
de Amadorcs realizado em conmeos do ano no
Hio de janciro. fa iultiplicao dessas iMani-
lestacoes em cidades as mais remotas. Sao Jose i
dos Caimpos pvrepia-se iara ralizar o sen. E nao|
lax imito t(.empo, tronm ao Rio o Teatro Exper- i
incutal de Coniedia de Araraquara, um teatro de
arena, du cidade ])pe .se apresentou, no Rio, diante da critical mais e.xI -
gnte do |ais, corn nIna s ri, de peas de uRI
ato, entre as quiais, "Os dois faladores", de Cer-
\antes. ftsse grupo. comandado por u11 rapaz de
22 anos, obteve sucesso de ressonaincia nacional.
l', innviados de janeiro, por excniplo, assist enl
Helo lorizonite representation de "Crime na Ca-
edral", dce T'. S. Kl"iot, pelo Teatro tUniversitrio
de Minlis G(.raiis, coni mil eleco dc 120 figuria-
lv.s, sol) o commando de 11111 director italiano, Justino
Mairsalio. F aos que falain nal do antor national,
el] gostaria de citar s;,nte o exemplo de Gui'
Jlieric ligieiredo, f o, eomn sna peqa "A raposil







as uvas", acaba de oblter o prinlciro premio
entire 800 autores cstrangciros no Festival Inter-
nacional de Teatro dlc Moscou, cm 1957.

A niocidade
- CueIll esta realinente ajuidando o teatro no Bra-
sil? E Pasciloal Carlos Magno responded it per-
uilnta: Son 1"1 poluco suspeito para falar, por-
uetando dcscrcnte (lia gtnte da ininlifa idade.
Estoi convencido dle (ti'ie ('inci esta realnmente
a*ildando a cigetcn mlo(ana. Iccordo-ice de ipict,
em 1944, organizci umina serif de debates sobre
*ijuiila ao Teatro Ftnix, qiite tica\a superlotado de
'reiltc mo, noite pI'i' ""nit. Ilojc, fclizinento,
asses cuirsos iiiultiplicanL-se por toda a part. Ago-
ra incs'mli) In .jliz de' ora sc' realizou inina iseana
ti dlebates si1brc teatro. Na Universidade dati
Ballia, scLu iSagnifico reitor, Edgar Santos, crion
C I]antfin unna cscola de tcatro (luf consider den-
tre as nirlhores do muniiido. No Iecife, Joail(iiiai
Ailia/zolis fuinda In L'ni\versidad ctstadial curso
ijdfitico. Coino \cillo. -I'i thda a part hli 'ssct
alvoro',o do tcatro colin part da cultural do pais.
E, semipre os inI(i'os. Atores. aitores, directors sao
(luase siempre os ainadores (lile estaio ctontrib)uindo
para auininitar os (quadros dc cspcctadorcs cscla-
recidos.

A falta

Pasclioal Carlos M\agino conicluiu sua entrevista fa-
lando nas dtficiciicias do tcatro brasileiro.
- Falta ainda 11111 poinco mais dc formainiaao: ate in-
te anos atrais. faltaivai solbrctdo o espectador. jai (ilt'
poucos rain os (|I i(an a tcatro. 11ccordo-ijo (Iui.
durante ninlia inf-incia t adolcscccincia. dentre o,
.unigos (ici frciiinta\a iii inlilai Casa. rain sobirc-
tudo os filhos de cfstran fi ris os <]pc i(Lin ad teatro.
lloje, a sitnaiao t inclhor. lias ainda nido c a ideal.
Faltain ao tcatro a compr| isao c o interbs;.r
daquelels (uit' att ai;ora inao \irain ni'le 1111n factor
vducacional notilvel ncio prrcubrrain (Ii(- A.* ] 0o
instnruento perf'ito dc sediillcntadlilo cultural.
sendo conIIIo '. ao m.sno tmlopo. 11111 dli\ertiliento.
Falta tamiibi'iii u11111 p .to mais d' pers'\erai.n](a e dc
fi. Simnint' a ft'. anlieniltada. ,i<'neralizadia. podt'ra
criar unia fisionomia definiti\a para on teatro bra-
sileiro. Acredito (lilt niio tardaniA o dia ill (jiie o
teatro lbrasilriro. pelo qual(a] tanto tmIo()s lutado. s'ia
uli dos iit'lior's do Iiunlldo. p11lo ique repretsenta
de idealisimo. desintertssc capaciidadc de trabalho.
Pasclhoal Carlos Ma[;no dissec nio descjar encerrar
suas considerajou's sem iiina refert'ncia especial ao
"Tablado". "comno laboratorio de auitores. dire-
tores, int6rpretes e. ao iiesnio tellnon. criando uall
nova e mais esclarecida plateia."


3 2


1. Beatriz Veiga (Yelena Andreyvna) e Maria
Clara Machado (Sonia Alexandrovina) eni "Tio
\VAnian" de T'liekov. montado pelo 0 Tablado.

2. Sonia Cavailnrlti e PaIulo Araijo. respectiva-
nieiite Nora Burke e Michael Dara. em A Sounhria
do Desfiladeiro iTlie Shadow of the Glen) de
J. M. Synge. baseado no olcilore da Irlanda.
Tradldi ao de Os\\aldino Marques.

3. Maria Della Costa ei 0 Canto da Colovia. (it
Anouilh.


1. BIeatriz Jeiga I elena A-ndreyrna) and Maria
Clara Machado (Sonia Alexandrorna) in "Uncle
I anYva" by Tchekor. presented by "0 Tablartdo".

2. S(niia (C'aralcanti and Paulo Araiujo. respectively
.\ra Biurke and Michael Dara in "The Shnado:c
of the Glen",. by J. 31. Synge. based on Irish
tolklore. Translated biy Osicaldino Marques.

3'. Maria Della Costa iln "Thie Song of the Co-
toria". b .lAnailh.






Paschroal Carlos Manio dramatist, nocelist,
journalist ald poet is a name connected lwilli
great campaigns in tirco sectors of the cultural life
of Brazil, to rchichl he has rendered good service:
learning ini youth andi the theatre. It was in the
capacity of a leader of these sectors that Paschoal
Carlos Mlagnio granted an itntercieie to AMlodul,,
regarding the Tlheatre in Brazil.
After a really interesting phase in the panorama
of Brazilian culture, that is. after a phase which
has its roots at the beginning of this century -.
said Paschoal Carlos .Matigo tie theatre irn Brra-
zil enrteredl into a period rwhichl. rwe may, reasonable
call, oilne of decaldence. No longer rcas our oncrr
language spoken anid cliwhosoerr rwas present tit
one of our players was able Ito perceire that or
theatre was lirvorced from the lian rguage., tll
customs and thie habits. in point of fact totally
apart from there spirit of the Blra:zilian peopIle.
Some trcenti/ years augo it t.as rare to find a
national actor lwhio had tihe courage to speak
"Brazilian'" on tire stage. erlc. if tlit theatre is%
surposIed to represents life ir the extension of thei
culture of a people, it can lie Isaid that our tireater
at that time ill rio wca reipresenled rs. I reielti l)ei
tell that thi most famorrus actor of that cra --
Leopoldo Froes spoke witll a pronouiince
Portugurese accent It rcua tlie rulc that tfli
dialogue of thie plants rcnt-i tIhose considered
essentially Brazilianr should present ia txture.
a(I syntax that had nothing to dIo with it razil .
Furthermore i! tihe Brazilian theatre thieri i ai a
total lack of dliscipliine. -\ com'iplex of complete
freedom and no artistic init.if
Inr fact of thIis continued Pasciroal it bicairre
essential to empliasize the contributions of iouth li
in the transformation of thle face If tlle Bra:iliran
theatre. Anyone ritlito knows tire Brazilian nar f of
life is aware that tile students ihare tak iir ia pal
ir all tire hiistoric rnoicrtcntrit of tie roiintri.
Abolitioni. Independence. Republic. (oi/puilsorl/
Military Sericet. ili fine: during tlie ,pait I V'l
years, a1nd rcei before that, in thie coloniial plias'.
S rtelie Brazilianr freedom i trai preached,. there Ine er
cias an idea wich biiecaine ictoriou it without t lie
4 presence of iyouthi.


4. Asildo Ribeiro e Ricardo Bandeira. ronto Jono,
Grilo e Chico, respertivamente. no Auto (ia Corm-
padecida de Ariano Suassuna.
5. Kalma Y1urtinho (Beatrizl. I-olda Ioureiro den
Souza iSofia Napoleuio Moniz Freire I.1Marceol.
Emilio de Mattoes (JuvPnsciol e Eddy Rezenide
IPre-te ). -ob a direii'o de Alfredo Souto de
Almeida. em 0 Mnacar da n izinnha. de author
denconlherido e que a--inou on original. common
Dr. Maredo.


4. Agildno Ribeiro uand Ricirdo lrandleira. us
Jotro Grilo and Chicoi respectively., in the "Auto
da Compadecida" (The Act of the Compassionate),
by Ariano Suassuna..

5. Kinian Mlrtiniho (Ieirtriz). Isolda l,ourriro ii r
Souniz. iSoflia, Ntipioleiro Moniz Frer Ire arceloil.
Emnilio de Malltts Juvncio) arnd Eddy vIezenile
(l'restes), under ithe direction of /Alfre/do Soitlo
ide Almeida, in 0 Maraco lda IVizialtha (Ther
Neighborur's Monkey), b'y arn runknon r aplthor. rirho
signed the originalns Is Dr. Macnedo.


Youthf

Coitirrihfig. always i 'nthusiatil Iicallr1. Pascrioal Car-
los /agnlo said: It wav thus that tie Youth of
Brazil, those iigi people Iwhio biclongedl to thfl
unicersitie.s, schools and colleges. decided to cI-
laiorate so that Brazil should po'sses a licatit r
lwhichl. iup l t io tt tirli. Ruas non-exisentil. W ialt
didii thre do. ''The/ introduced ideas, priacr in i
Ie itl/iolis arnd. abore arll. struggled for tlic need t'r
Irtiri oier to ai resposiic professional trr dirre -
iion of thie ti'eatre. Ti/ puliblicly proclaimed aI
director. I 'p to that lior the plays iwere rcrlicaril
by some old actors, sometimes not curn that: tlicy
markede' thei plays biy amacironicir, uaict'stral
metrliods. These roun'rig ei thi-rn explained hie
ineed for someone felt, would/ oi ccuIl' him elf
excliusivelIy withi tihe artistic unity ot f Ir play.
Thiereafter th liei director birouigit to lict Brazilian
stage tlie contirollinrig and collaborating force i hich i
succded in urn amalgnmaitnig ncwit forces and efforts.
iHenice, thie most important fact in contemporary
Brazilian i thaliitrc is th/ie resence of tlit Dirc't'o .



it lwas these /oiung men -- Ioutinued P'asciooal
.Magno moitly unirersili studentts, itiro. tri 'Iit/
years ago, created tii e Thiotirc of ti e Brazilian
Strudentr Ui'e kiow thlie prejudice tl ci existing
against tIe Ilietaitre as a professions. \Io (ini ('oio-
sidered the art, as was alreadiyi done in otlii
countries, as a dignified, noble and arduous
profession.
Young per / e of hoti sexes, witli a uniicrsit
'ackgrrnuin, came to Iit' slage willti plais of hirminai
interest. liTese 1' 1 iuig p/oplic irouig/i aIboti oiliter
miracles, in addition to insisting on ite present/ i
of a director: liti des'lroyirI thie useless an il
auacrironir ideaii of ithe "ponio", licti struigg lei
for a deer iu/lers andiiin of Iie Iexi anil, filialli.
destroUi/(/ lii prejudice against thite theatre.,


Furthermore thlc! carried out considerable edu.
cationr work. Tlicy made knrownr Shiakespeare
Racirne, Corneille, Sophocles, Euripides, Canies,
our ownii Marltins Pena, Ibsern and others. IHad i
not bIeen for tlle yioring ipeopile of tihe Students'
Thleatre, rclien would Brazilianrs have lhad ,,
opportunity of seeing Hamlet, Macbetll, Mlidsuni.
riter A'ig/rit's Dream, IRomeo and Juliet?
Cornsequenrtly, conitrnuedl Paschoal Carlos apni,,i
this movement and also the experience of ti,
"Comedianis" (Os Comedialtes), wlro had sich
a great inifluenrce in Brazil andl who followed in
tli wake of tire theatre of Benato Viatia and
Alcaro .M/orcyra, proved that tie recurperation ,of
lite Brazilian theatre rwas urgent ailld nece.isay.
\We all knoi'c that acting is a gesture of iruriliti
T'lie actor plays hiis i rt, is applauded arnd, ihcren
the shire is over, ir rat remains oif hi.s interpretli.
tion, of his art, of his gnitus? Merely tie memiiir
of i more e xpre.ssile gesture, of ia voice. It n
true that, inoalaysi,. tiheire exists tihe Cinem lia
prescre i'e t action lite record to presierre thl
oicre. Burit neither tlle art of Ilire record, ntor til
of tire cirrnema are really rei 'al to thie art Nof Ii
thleaire. lie tlleatre aloni e rcmai ns, in tuier ami(
place de fendin Iuir g lie cultural patrimor l of a
country throutigh its autihors. ITius it uis iimilli
iclir foiinhWt for tlese authors. It wIas then i titl a
smIl' threatir arose in Santa TIerrezn. in Rio de
Jariiro. A tllieatre withioult ia ibox office, like lth
ichurchesri in (hiiici nobody part to enter anil. also
like thre cii Irchi i due' .tln acrt. a silicr itrai atr
pasid aroiunid to rcollect lite offerings if those
it lito )iisiicr t'o rlpi tihe kinil oif mltiliscis'ii iin t(ia
Nirrall Ilinatre. prcentinigt net u auntliiors. In lfour
r/cars' of activity thie small thleati prcesenitIle 22
unkniorn iplawrirights,. i'nitr of iloinie are lianroi
todal Aiii a(is: Francisco P' rtira da Silra. iRaqiieli
uic tu)irrirs. Antonin (Calulao. lierminio Paulai Fi-
/o.1 ri 'stni'trilcs Sori s. ein' Victior. manrir of idiom
cametir from tile lsuburbi \ tio li celtre of tin' nitit
to rrc'rir tire national lay o' thie i3razilia.i
.\iatloriny 1 iis same thlrealt lirrsrrntrd ror' than
21) interprreters and l lhas tie honrrour oif lr inIg been
tire' first theatre to I gi rv an oiwportinitfl to lic
'rrcati st theatrical di iitior of the inimirent in
Bra:il losr t Maria Ilitnl irt.

dramaticc ( riptir isu

Pal'scoal Carlos iagirno p irtiluint r:
Ianiui people hIave asked ite if I coiisider that
itherei is gooId dIramatic criliciim in Brazil. In Bra-
zil there ldoes exist dramatic c riti isimi. I/rhich fadt
is in itself a good thing It is trut' thil. reiriitly,
'NPm' critires Ian ii appear onI r Io are rather r iolent
ini their attacks. \N r rntirlpcss c% I if rt that tie
role of criticism in Birazil is that of rapid arid
inltelligrent ir1commenrt. rlii h is, aIbol c all. coirisnrrt-
it. One must tlink. tor instance that lBrazil:i
a i ointri in process of formation and it is 1iot
ryet inssiil/ irr to dea(1l it matters wii lhe
grar itir all moderation ac liier d in othiier irouilnties.
It is rrtessarryi to uderstar d u lou tlli effort arose
aruil rstablishedi itself. CGrealt gncrosity Itist be
s/nhownii to thei tre ii hirh is "'"rnii'. It ?leat nut
h/) ill treated nor chastised solnir/ lNewirousC some
of its brrrinlies ar r smu irwhat tistd. It i tes-
sinltial. 1 iti careful anid a(il,, hand. to turn the
branchi into tli' direction of thc sun. rithoilt
inrj ririrg if I is is flit- )i'sition of d/rat"aic
criticism iin liBrazil. i icli is /ist a.s goad ard
jist as full oif flatr a% dramatic criticismi ili other
parts of tlie iorild.

\holt iV liul.

I iai c al soblieeni tiskeid coltinued P'ascii Car-
los .agino uihat there is niew inll tihe Bra:"in'
tlieatre. Il i/ op inion ii liat is neic in the Br,
ziliai .scene is 1not the tlieatire in Rio, nor that
inl Silo Pauli,. It is, as I have said minref th
oncei, lli linger and thirst tor culture thirorgthe
theIatre. Irmaginei that in less than twienti /
there iave appeared in lirazil hrindreds of itieiit
thicalters, aiik clerks, commercial Iw"'l -' I. tri(
'emply id in indllustry. Whaiit is really ,cw ill hra
is regards tlie theatre is repr',isenterd 'by i
festivals, such as those of tie Amateurs held at
lite begiiniiig of thie ear in Bio It' i cnrro it






is l/i tiplicatliion of such manifesiitations in theic
is,,l o te 111 Ci i s s it ) lo*s d os C atllllp o is
or .,,,f't. puf in their wirn sho.wl. Furtherinore,c
Ot/ lo /l1"' ("1o i' l/h E'xpcimentaiifl 'iThieatre of
rTniiw I ar' -I are a th atre, fr -o m l ( sm all city ,
*res ,'it,( d Rio, Ito te il/ost critical audlielnce ini
I,,( a *ser'iv' of one act plays, aIioqst
i cr ii : "Th'I Two chatted li trs" ( l)os /is fala-
clores) of C('i iiitih- T is group, led by a yntiiig
1 f l of iyealrts ofii ae, obtaineitd a success which

ru iin' tally. In th middle of Janar, il
of li l l J.., oiof "C(' rime illn lit Caiirllidril", Iby
ll/l iot, by th/c ( 'nit finSily Theatjrlet o(if M licas
s rii s. iti I i ai st ofI 12i fi i rt f i underiil. th'-
,iqiitin'r Iof t Italian D)irlec t Jr, ]u %tino Mlarsano.
", i to tlhose it It sl"'cak ill of lIr national author,
I oIll/ likc to call to mind .\ii ll/ tlle example
of Gulilllfilt, F*i"Ilcieldo ullo. flith his p lu "Thc
Fox Indl / Cll< (i"1s W' Is") has
,,( obltillincd llc first prize" aIlnilillSt 800 folrignli
auditiulhi (I thl InIl *Tailre fit \OU.011, in 1V') 7.

T'Ie f/"u .ger sl't

whoi is really /wic/pi'i' Ila flicatu in Brazil? PN\-
rdwiiill Carlos Ia/ plicd to this 'linctioln in ill


following way. Perhaps I should lot speak of this
ialtter since I amn somewhaL t prejudiced because
I have not much belief in people of my own age.
I am convinced that those who are really helping
(tie the younger people. I recall that, in 1944.
I organized a series of debates oin aid to the
Phoenix Theatre, which had an overflow, night
after night, of young people. Fortunately today
these courses have multiplied themselves ecery-
where. Recently in Jiliz de Fora a week's debate
oin the theatre took place. At the Unicersity of
Bahia, its magnificent Rector, Edgar Santos, creat-
ed and maintains a school of the theatre which
I consider to rank with the best in the world.
In Recife, Joaquim Amazonas is founding in lthe
State University ant identical course. As cani be
seenL throughout the country there is a dawn of
interest in thie theatre as part of the culture of
the country. And it is always the Uounger folk.
AcXtors, authors, directors are almost always
amateurs wiio are contrtibuting towa rds the
increase of ell-informed spectators.

11'hat is lacking?


Poschoal
referring
theatre.


Carlos Ma'gno concluded his intervciewc.
to tlie deficiencies of the Brazilian


There is still some lack of formation; iup to twenty
years ago, what was principally lacking was an
audience, because few people went to the theatre
I recollect that, during my infancy and adolescence,
amongst the friends whlo used to come to our
house, those who went to the theatre were, in
the main, the children of foreigners. Nowadays
the situation is better, but if is still inot ideal.
What the theatre has lacked has been the under-
standing and the interest of those who, iup to noiw,
have\ not considered it to be a notable educational
factor, nor have perceived that it is a perfect
instrument for the solcing of culture and, at the
same time, an amusement. A little more persever-
ance and faith is also lacking. Only faith, increas-
ed, generalized, can cerate a definite character
for the Brazilian theatre. I believe that the day
when the Brazilian theater, for which ice hace
all laboured, will be one of the best in tile world
is not far distant, through all it represents in thle
way of idealism, disinterestedness and capacity fo
work.
Paschoal Carlos Magno said that lie did not wish
to conclude his remarks without making special
reference to the stage, "as a laboratory for
authors, directors, interpreters and, at the same
time, creating a new and better informed
audience."






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S A 0 P A U L O


1\l \S ITE.M.S


'1conn i tI Brl i lilM


A ri vista inii.lesa "A *\rciit rctiir.il cH ". ilic (Isfrntai do imai ailto pri'-
linio 'w" nrini, ,iriquiteti()iiros a (ll uropl ;acala de publicar com 1,
iillihircs nrcf-rcuiw Ia l laniilo iI' t dc Lucio Cost. c s proijtoi dr
()'s.ir Nitiif r par.i Br.a ili.
>iSob i Plano Pi1il to (14r I. nl i() Costa. 'di/ r 'alirl 'efit "fir" \\illi
llilo)rd: "NI nminha )piniina un dlo i nKlhl rcs imntstiinwi tmo vm1 dISn"-''
(t() iii niti0 w n/li i)t A /itaIa rli /ta itnnicro dc denSbroS dcl 1957 u'1i sit' i pirtw cditorifll
a|mrcia o proj)tl dol Pakcii doi Cowrrvss~o Nacional dch O'car Nienime1'.
<)ildifiC,llldo-i dct "Imlltistral com posi('io dt. sa _lit os i -nctricoi


l irlili f f- di t. "Ar flfitcl l iural (if itlitl

Thc /*l; ish ima ii a inr "Architrerlmal /?ri ,t u" ihich ciid i/jo .s j 'the li'"lu'
pr) .il'c in Ftirolci titn (-rchitcct itral circh-s. has jillst j;)if/lishtd Mfr. Luc
Co a'.s I'ilt I'lan (mmid Mr. Oscar irincrycr'.s proiccts for Brasilia"
accompan\linij, t/ic.sc it ith thfr finest culogixis .
Th I'irlitish l rchitccl. Sir \William Holford, relit al referring to Mr. Lllci
Costa's 1 ilot /)lait, ltatvd: "In Yn/ i opiliioin this is 011C of Ilt, l ircs t
icin/s ill lrban (irrlopment of the twenti centurl". T 1is "1^"-""
D Occciiicr 1957 edition in its editorial poll t/cratohs sl1"*(* Ito a
alocrcittion olf Mlr. Otscr Nifciiuicr's projctl for llit hdace of ft'ifft Nati ll
('Congrcss. tiiialiflyini it itn /ltitv trims: ",' mal( stic co(icet/ifoll. (Cfmpfl"
of ceniiftarl ge mleric iso//.


S. A.

MAQUINAS


"Archlitfctral Hu icwi







Durante o ano proximo findo, a Divisao Cultural do Minist6rio das Rela-
.5cs Exteriores divulgou, pela imprensa, cdrca de trezentas noticias, ba-
scadas em informa'oes transmitidas ao Itamaraty pelas nossas Miss6es
diplomaticas e Repartieoes consulares, sbbre varios acontecimentos de
ordemu cultural, de iniciativa de nosso Governo ou realizados sob o seu
patrocinio.
Durante o mds de dezeimbro iltimo, por exemplo, vale a pena destacar
as seguintes realizacoes: cin Nhpoles, a exposicao da ceramista brasileira
Zina Aita; conferencia sobre o Brasil, na Universidade de Bonn, Ale-
mnanha, proferida pelo Professor Kinzl; conferencia, em Milio, sabre
mnisica e literatura brasileiras, proferida pelo Professor Murilo Mendes,
regente da cAtedra de Estudos Brasileiros na Universidade de Roma, con-
tratado pela Divisao Cultural do Itamaraty; entrega do prbmio de arqui-
tetura ao Professor Jean Rover, Diretor da Escola Especial de Arquitetura
de Paris; divulgaiao do teatro brasileiro na Argentina e na Inglaterra;
inaugurayio de um curso bisico de portuguos na Universidade cat6lica
S6fia, de T6(juio; puLblicalc o de uni artigo do Senhor Renato Almeida,
sobre folelore, nuiia revista de Djacarta, e divulgado em seguida pela
Radio Inldonusia; concerto da pianist Yara Bernette emi varias cidades
da Alemianlha, Suiia e Franila, sob o patrocinio da Divislo Cultural;
criaaoio das cadeiras de Literatura e 1listtria do Brasil nas Faculdades
de Letras de Portugal.

During the pas-t year tile Cultural DiCision of the Ministry for Foreign
Affairs has made publicly known, through ithe Press, about three hundred
items of interesting news, based on information transmitted to the
Itaimaraty by our Diplomatic Missions and Consular Departments, concern-
ing various cultural matters, either initiated by our government or held
under its patronage.
In the month of December last, for instance, it is cell worth while to
draw attention to the following events: in Naples, an exhibition of Brazilian
pottery by Da. Zina Aita; at the University of Professor Kindl; in Milan
another lecture on Brazilian music and literature by Professor Murilo
Mendes, holder of the Chair of Brazilian Studies in Rome, contracted
by the Cultural Division of the Itaumaraty; the presentation of the prize
for architecture to Professor JLan Rover, Director of the Specialized
School of Architeclure of Paris; the dwiulgation of the Brazilian Theatre
in Argentina and in England; the inauguration of a Course of Basic
Portuguese at the Catholic University Sofia, in Tokio; the publication
of an article by MJr. Renato Alneida, in a Djakarta magazine, on Brazilian
folklore which u a sub sequently broadcast by the Indonesias Radio;
concerts rendered iby the pianist Yara Bernette in several cities in Germany,
Switzerland and IFrancc, under thie auspices of tile Cultural Division; the
creation of Chais for Lit reaturli and Ilistmi of Brazil at the Arts Faculty
of Portugal.


Criaiao das eadviras de Literatura Brasileira e de Historia do Brasil nas
Faculdades de Letras dce Portugal.

A Enibaixada do Brasil em Lisboa comulsnicou ao Itainaraty que o governo
portugues. ao proceder a recent reforma do ensino nas Faculdades de
Letras. atcndCeu o dLes jo i0do Govrno brasileiro, nio s6 criando uma
cadeira annual de Literatura Brasileira no quinto ano de Licenciatura em
Filologia Rom.lnicai. iias tibliemIn incluindo, no program do quarto ano,
do setor de Hist iria. uma caitldra scmesitral de Ilistoria do Brasil.

Creation of Chair. for 1;Bra:ilian Literaturrr and Brazilian HIistoryi at the
Arts Faculty of FPortliigal.

Tlle Brazilian iI iiiasa.t/ (tF Iihslin advised te Itaminaraty that the Portu-
guese Gocrirnmint. Iheliii impleinlliitilg the recent reform in learning at
the Arts Faculty, attended to thie desire of thce Brazilian Gorcrnment,
not only creating an annuaiiil Chair of Biazilian Literature in thie Fifth
Ycar of Roman Philolod1 but also including. in tlie prograimmeni of tile
Fourth ll y ar. in lltr Hlistor1 Sictfioi. a half-Iyey11.1 Chair of Brazilian
Ilitory .


Conferencia solre E ile M1 r\ ei Milo.

0 Consillado do Birsil ll M\iillao informlou o Itamiarat de que a jorna-
lista Claude \ ineeiit alIlitc.i coil'rilesp)ondellte arquitetural no Brasil. rea-
izoull, ino colcgio Arihitettl Lomblardi. Ina(Cuela (idade,1 un1a confIerencia
coll projeIet s ibolire o ti ia "\Aijuitetura Paisagistica de lobcerto Burle
Mair\'.


A Lectu ,11 Hur() InIx i Milan:

'lc Brailin Cnslae in ilan adisd t a ati ll
liurllalist Claud iincenlit, formrIly a1 n alchitectural correspondent inll
Brazil, pronounced, at thle Archiiitletti Lomibardi Scholiol, in that city. a
lecture, illustrated /i/ fi7,iN, (m thc th,1 T,1 e -Tlc Jalndscape Alchitlcture
of Robcrlto Burll I1ix".

Co i rto di pi;lniAt b I li5. Mi uniiln .

(1) onulae d(A ll \i| ,,in M11niquei C0inuii(n i i ,10 Itamaath 1u1c a
P'nista J rasilcira Y)ir;i ],.]inllet reali/onll. ia uela c.idllade alemia. um11111
S piina o q(It, ,iciiiui 1rlm ide e in reeit io .\ilo.


f r a n c i s



AV RIO BPANCO. 185
SALA 1817 lel. 42-6762
3 6 11 7 8 -



















CONSULTOR TECNtCO c


CONJUNTO GOVERNADOR
KUBITSCHEK Arquiteto
Oscar Niemeyer -


NOVO SENADO FE-
D ERAL Ar q uite to s :
S er gio B ernardes
e R o I f H ii he r

N O VA S E D E DA
CAIXA ECON6MICA
FEDERAL Arquitetos:
Paulo Mourao Cardoso,
Ney Fontes Gonsolves
eJ.A. Ortigao Tiedemann


a u g e r y


Diplomado pelo Escola Holeleira Nacional de Nice (Frango)

PROJETOS FUNCIO N A I S PARA
HOTELS, RESTAURANTS E HS PITAI S


0sn s e SAS, v Iu
arc*? on ~;;; i





-


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4J "
4 0

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LAR DA CRIANCA IS-
RAELITA Arquiteto
Henrique E. Mindlin


A P R E S E N T A A O DOS PROJETOS


_I __j






A Senhora Yara Bernctte esta scndo auxiliada (tiit snua cxcursao artistic
pela Divisao Cultural do Miniistcrio dlas IltIa,(fis Exteriorcs.

Brazilian Pianist ,giucs Conccrt in Alimunichi:

The Brazilian Cionsu lati' in Aliunicih mnitsi d s lt I' Itainara ll that the
Braziliaiin Pianist, Yara Bernettc. garic a /piano recital in lthat (illf u/iicli
was a great and nrl merited success.
.llicadll Y'ilara Bernctt!c is /lcinig aided in her artistic excurs ioin hii tit:
Cultural D)irisiiii of the t1linistiiy Fori Forciign Afifait.

l'.tia dc autor brasiliii rNiprscintilada tici Loindrs.

A 1I llbaialada do Ira1Sil c111 Lon.idrrs ((iiiinii(OII I)o ItIi l \ iratt i%'1 api)os
tii''s S t'lliataus cm carta t'\e a ; suta I' lltin 1a 5r,)r Ho all" d i(llt'la Capital, La I)C,*.a "IE o N Horcslr soprou" d i lltlria lo1
ttatrilo(go brasilviro Ediard Hohlia Miranda.
A reflrida pct,-a tvatral, em vrrsad inglicsa dc (-ni pr6prit> atitor. mcreccu
lisonijirds conintf itrios da in tprcnsa litdritia. atr.t\ s dc 1ua critic.,
especiali/ada.


FABRIC DE PRODUTOS FARMACEUTICOS


REZENDE ESTADO DO
PARA CYANAMID QUIMI(A


RIO DE JANEIRO
DO BRASL S. A.


CHRISTIANI


N IELS E N


ENGEN H E I R OS


E CONSTRUTORES


S A.


'liTi Braziilian Emiba^f in London ads'ii i fii tIn It miiiil tiitr, sfirn their
.IsucctsIsfl iccckis .i trfic Royaiil 'I'l iitr in thai t Capital c.iti tfit playSr "A.ln
tic D orthincnt ast W ii Inlt ut dt'. u ritllfi' lby ll d thBra:i liian p lida ri st dil.
IRocha AIirauIti, ha.1 c n it unlulrau n .
Thc E'ngi sh I r rsion onf fhlit% plai. u li(ic u it 1 do e /)(/by tic i author limiscif.
i rfrit lo ari object of flat7-tritl g I rniillcnl t Ir t lc l iiin lIn I in .ll. in iheir
dramatic crii.ic iii ns lt. I d

irasica bra.iil ira n1 Indi w.ii .

sN. > t\ i iiit t .illin ,.'i i l) d. i ( ii ib .ul i ido rat it l ii n D jai karta. a rft\ islt
" Blidata tI1 pi c i dita i I IpltIi ( i apltal p illii ( it Ia it i .i i it, i linn111 i
incl()lH. ia, dc lint artivn do S iiIor Hfinato AlImcida. (.hirt do(t Scrr Ito
de Docime(ntacao do Itamiarat\, slb)rf a c*oli(,ao da imiN(.ica no Brasil.
0 referido artiso, que constitiu a priimera tradne/ao de lilt) vstudo siste-
mIatizado (da imii.sica brasileira. foi diiuhliado pela Hlidio Indon-'sia. de
Djakarta.

Brazilian 11uwic in Inllonc\io:

iAccoriding 11 t unni tnalo ii t it i I trno th lH :lle l l i in
)Iiakarta, ltl if a'l azI u "Huft olitf a". i t i f / It p't i' lu I d it, that Caitiill.
)publ hcd a tram nation into tih Irlndon smin tcowtui .I tin artic' ulritten
/)i M\istcr Rli natoI .\l tn ila. ( *ilt f ,If lth 1),i 11r1 n ait .S I i If 'h/
Itau itrna tl ( ,in rling ti i i Iluitiin rf miuin 111 rlfn:: .
Tims artirr. i rhich o lnstit t ti fl i st tranI latiiiion if a %I/sh 1ternaic study
of Bradian monii tnis Imn iil ist In/ ill, Inilni s;ein Radio in I0dakartm.





Caq|iir la Capital. na Ii 1 tits\ Ir ld< ialiln, 1 dr Su .ll I -pm ," (
lirso ba. i oi d(i portw -,. 1i1 .i iliirm J."n dr spi Iatim I i s (dcstillh ii
.t I i ii rantt- jap] ncw s .
\i pr)\inm w aio sria iniita ulk.tdl] till) Il < id il, \ oIX ido para viliznc-
nhd irirus, t Ui (j, q), i m[)rarmn Ispci.tli/mi o) -ill- N ir.in paD rti )i1ar in) Br.i~il
dr rii" pri i n ndlii niittis )appan it.. ( ( n 11. p, r linnI Kit ,iiis (It c 1nip.l
ItAilas miii iin s id'i, d,. i it Ili n it in1 d n it I l pond( ii/ 1 11i por-





\\W ith flit I sippo>t of lit l1arilthan i plon ati( \liioon ini Tokii. thirt
rln ii mii gurlaift d ill thill i C ipital. (it til ( 'iatih lc ( oil (i still o!f Sofia. ii
court l ( ifim iic Po i~nl limimleii fino in iitilli. onll ui l lot Jilpalit" t
vmigrti nt.s .
N ,.xI\ i/ri 11 i i m l < I ni Io t fotoin/ rigii i S.. Icrcl i i'H"' """

undcrtakings, us int c1 as for officielv N f 1 111onu1 icri Il ( mi i e(Ill is T S
cntrtistrd 11 lilt Porluiguci' ( or'rspoun ?I(r v. it ill l), instalIl d.

Tratro dr Martins Pcima miflripirltadtn n iliH s \it,

Co nlililliidmn ao Itainal \ 't I'Mlhai\ada do Brasil -nI lin os Ainhi i|"
a,[hm s do "Crntrio dc <* l idos Hi asilrims W' a d ,a) d1,1 Professnt'l
. via l(Fo lis a dc Ras, :pl usrci ,tma n n. 1.|irla CaPital. nilo Tratro CG nldile

la i id1 dr M arl h -r1.1, "()s it I n A t < 11ai1.1 A rrli1t ,


RI O DE JANEIRO BAHIA BELOW HO RI Z 0 NTE -

CURITIBA SANTOS SAO PAULO PORTO ALEGRE


O B R A S H I D R AU L IC A S- P O N T E S -

ED I i CIOS FA B R I CAS CA IS SILOS ETC.


bra il i i A sl i itlir'\ Ilit SII showI in London:







ssOcia;iO teiatral te'lln plr objetivo divulgar as obras de draminaturgos
i,,rgnitillos c brasilciros on o utros dc liniiigua portugukesa c espanhola, indis-
t'illt:i ni't i nol s tdois idoiiii S

Brrtili I)Dramatist .!Martins Pena interpreted in Buenos Aires.

'Th liraziliaii Embassyl in Buenos Aires adclised the Itamaraty that students
if ti' "Centre of Brazilian Studies", under the direction of Professor
ilygiti FoIs"'c" 'Ie Ras, presented in tlhat Capital. at the Candileja.i
TheaItr, te' first sc(ssi'on of their programme of theatrical readings, the
piila iitrriprtelcd bi'inig M.arlins Pena's comiedyi "Os Irmcios das Almaras
(Soul Brolthers) .
it' ,lbjjclftice' of this tlheatricl i.assriation is to make public'i known the
corks Iof Argentiinc and BHrazilian D)ramuatistls and others who write in
t/i' Portuiuaiids Span isi 11h lanuiiaic.s, indistinctly.i

C('onIl'rii'ii' s'hbr Brasil ni L'niveridadc de Boinn.

A coilitC dat Soci(cld(hI' de (roigralia v Eti)lotgia, o Protcssior KinzI, de
Insbrti'k. Alc.nitiiim, protiiiiiiiii uinta conferencia. na L'niiirsidad(i dc
BonnIIi. 'o)br a colonizaiii/io alciii nio Brasil no Peru.

ectimure (n Brazil (t lir I 'n rvili/y of Bonn:

At 1/ti iin itaition iiiof the Geograp/ical and lholoical Sociltyl. Professor
kiin/. If Inshlruck. Austriai avr a Icctur (it thle Unicersity of Bonn, on
(Gerlnn colonitiztiitiIin ini Brazil and Peru.


Micq \,ll D] r Hohc no Brisil

Eml rnipitdia \isita. esttM.\ c rIelltc llcimitc nio Brasil o aIrlquitfto illmnidialiei'ntt'
ibiil imdi. Mlies \'u Der HRol \i/tt r idadre. tai o l isitalntc lvo d'
e~prfesshis nuini ta> s da partr dal n .s ,l .a c.s cultri. prin) .ipall-
inlitc o' airijlitrld,. a, n dcr Holhc ipirowiton a oportiuiidadc para iflo)r -
llmr-se .1 res|pito d(l.it c n s ltrm. da future Capitap l F1 d rl brasileiri.. \Na
'E\po|si,,an pI'rn.l i it i di Brl! ]ilia \aniio( a ] i qucta c os projetos..
(1in `)il)il do a[1t0t l)]aiitjiro LuD io Costa c olicli t da Di\isao
dc' Urbaiisio d I (,kap ) a11tor do Plan)o PI'loto dc Brasilia. \a foto.
* s 1 i l drr ]oln int, I t dira ita l. .nmando o> \ ia a1 e\|pli'ca i s dd
lcio Cost: 1 riI'pcito dr 11111:1 a s d i nda s dI hlia itaii)o dc Brasilia.

ic \'n der liol u to Hm il

I 10' l fitnmus arcitc \i'c a'n ot(r Roic. rcccniltly paid a sholr
. to I yraiil. in thi, city thec rvi;ita) , ,(-. a mrmili icricomcd and was
l I ''!i .mr /) ltor(1/ al clarssv,. principally thne atrchihtfct. V1an det Roio
loo "if 'ipportunitil to obtain info"nation rIci ardino tllh building of thc
lie"','I Braziban'"" e'(derl Crat pital. At 1l1c P( rIniiiir t E'l hibition of riasilia
(icr i-amneicd I/It, Inoo ls and pIloictl., accompanied by l I/ llicr azilianl
(iiit1 '', Lucdo Co(sta. chicj o( Ith Cr/xn Oivision of 111( Nor' ii/acp and
( ri""l 'If the Poilot plan of Prasilio. Il th photograph. \Vics V'1 (1c)
rcirt/ (I )It ( tfh riohlt) liv liini to Illr crilanatiml ol I' ll io Costa


-a

0

E




ci
E






D-


DOMINIC


S. pauIc

ric







Co(nifer('0 ia solbre a I III(iil II'Ia da Capital.
Comno part das comiieIioria('s dla "Si naiia do Urlbaiisii'o", o Sr. Pitif!o
Notgu'ira Batista, Secrctlirio tla Emiaixadliiia do Brasil c(ii BHuellos Aires
I ronlvitc da "Soc'idadc C' nitral dI Ar( l itctos" proililu ionii l (1a COItfe.
rrilcia sobire a dintialna dla Capital.
A Conli'ifric'ia lfoi ilustrada com Ioitogram ias dc Brasilia, tori cidais pela
Diviskao Cultural do( Ministrrio dlas Hclati,-cs, Extcriorcs.

A Lecture oin the Chaluiiil of t/it Capital:

As part of the conunmclortiotis of Ihc "U('rbanization W\'ck", Mr. Paulo
.N' (ucira BIatislta, scri'rtary of the li, ir.ilia i E'IImbI.ss at Buin'ioi Aires, at
tf/i' ijtlitatioi of fl th "C(' iilral Soc'ici of Archil f.ct ', aLce a lecture
coi cerlninil" the inlit cled chalno in llic Brazilin c ('idl.
ITh7 Irt' liir'll e n as iIrIll d In/ ;i/ 'r s (f rII siltl iia pr idedl hi the
Cultural Dirisioii of thic l.iniistr for Foreign Affaiis.

lF lpo sit,,ao dc cciamisia brasl.ilcira (nl \. i|pldrs.
Na Cailri' a \ la it lli, ri 'lii i s, l ia l .nl.iist.i i ae silrira zi' a fr Aital. i ur
trill alcianli o \1 ris ]) p]r -itllm s 1A lildia. mIdc sr acL ia idTicad a r alizoln
S l'ijlu a r p(osi),i',n h u i dI sp rtni 1\1. i it itlr i ii l l ii/ dr/ d(i cai itrr niiotc
p|ssoal dc lia obra.
A rraiidl aitista min ir t l'i: ] ili dc i, Il -rito. afI-fin dc outros
tiaIallu dI \,1lo r, r i/ 1i r itrato ldi S iho ria Claricc Lis|)ctor, incorporado


lraziliian Po1ittr I Vlhibition 111 \' /pls.:
Ait thic l'i itllli ca.'ll, 1/ II Hi :ialito. (raiimic arlist. Zina Ailt. ulho l as
icit rir.i i( l pri: iin I'li. iliri sli Twit makcs l r lin held an
rxhibitinii l(licih aro(iu.d'. il .r t int ., pair\liulairii in l ir-it. of i il
Irrisn al nitAtir iif lu r ork. T1' f allt artiist frl ( Il Mil/as C( ra s. nilo
is also a ptint r iof i tIi. inf addition to otlri I aiabl it orks, /painted
theiic portrait .ii Madam Claricrl Liv'ctor. uihichi is noit I Ilire Gallenf
of M.llod r.ii Art i S ,I I ', Pai .

Eililtr ia (it p frri/imi ( i, /irimtvtit rt r i







() f/mb ii ir.l i do B f/uil -oI t i fi, (i, eltf Itli t, ii. PX I l/I d ri d / I i Ro%,r.
Dirrt, r d i tudl iii df fl.r Impl ial dr Af uitf ltur.\ d I P7iris, o prminio
1IPr si/i ia dm I. 1 plll)ll l / i ( fu ll /dl I/ill /I t.ll al ,tl( 1 I l lipc d ailno s
daqull lr r tab h I l( I 111t d1 [ I d Ii lln Il 1i l tra il. I il l i pr 1 illiitai r. ili n: la.
Bi fnal d( Ar( iit ti /1 r.1, 1tuada I/ ntro i )do 1 I A1Idro da I\ i final de




iThe Brazilian AtmLssador, /it ( a soleminit hcld in7 Paris, presented Itd
Prof1cs1or J1a1 n 1/ r.p ri. Iirt clter of Stuldi, s of tin Sp)cializerd ScIhool o\I
Arcl itcli tur oif P'ris llir priz Pri7 Ilit i/ f il R.i ii bh/ii "' ronf7 rrtu
hi/ llt I lt I fmaratll l thll I t mi t s/liola/ rs fr, that i/ aching fstabli]"im
for ti i ork i 1 Iichll lli ii t in r Tni i I it tfif First Ar/chit/ tural / icimnid/ ,
livid it1 illi .fn,' / i rim iii rk i t/ if f/ ic/ ni/al f S / /Pauli.

/Co71 r/ iit i d/ Prf h i-r M nfilo \I l Al s i 11 Mil.-it
Stl ls .m spil s im 1 ( 1isi]'.1 (i Hi is l no 1 l.'i. I lirtirsso Mh r]

HocD allli. tl .(is ,is ( s t ,Kl : k, (pD t') (I 't m l id < 1t 0rl l l br,1-


Iciro. Atimi liit, nil i H, in 1 .1 d ( itdra dI' ( i st. d 1'r. il n Im
-rsi(L.td, dtr H oi]i,t. l ritain pl I)] ]sit i D Alt ] ,] A L It,11nir,itr

ofcssnr U irin it nflr^ 1 .1 tI, ill s i il \ lailn.

l u a I llir onm i s .q tll, Ilfiai h n ( nulal ailla ilan. titb ss.i P t,


r(ultiiil lift in l/1 / I ll f litr latf tio l roIim .
T lit It, nto t s --it n Int Has H/l it / 1 K1 k io lii ili:n n intrlIrrli tuial, 11 oi,
(iti'lnllil 11 nlt (' il l C hao l f li:ii-dion .Sftiol s (t lif I To( r ritl 14
Hornr. coitnrirtail lIo ill, C lltl aoil Oirikiiii ,f hu ln t al aty. 11 L'c u


\ \ ,i n/ l m ,| ,1 1\ HI ll. l do .S.I. i I'llllu



()I if1 I lii (h AI' lt pI, ltLd I If 1, .- ll ml i (l 5r.1 p tl **(I. F m



\'i ne//lii In l \ liirioniil "I t, Po ldo

'i dll if' i of //'I .nln l, lit l"m lli ti InI I ln /1/"-l l" 1/*."o" 1(o

l i(n I li I I -rk ( 1 11 (1 n 1 Int (I (if all nL I nid\cl il ( 1 1ri a (" I I I i
I o In(Ii Il/ l if b ifj h i ito r I olr, /a I f /llr i lt /I irto i 1l F1 ll 111/ "i
:( nru l o uI I I 111 f i/ (i f r s I o, ,oNl iI ,fII io n in T ill 6
1 h nl 1 r o as 11 idi ilit i l ol (l



















































Novo e colossal edificio


\Vai ser ciuido em \ola York edlificio-sede do The Chase Manhattan
Bank. () nImioientl ediieCio oeiparai unia Area de 10.000 metros qua-
d(radoNs .tenr 60 pa\ inentos. sendo. pois. o maior predio coniercial cons-
truidlo ntesi nltimns 25 ano.t
IPara ateiinder is oligneias do tralego intriio da gigantesca construnwao.
Icabai de swr irinado colii a Otis Flevator Compan in maior contrato.
S11,l dolares. na historia do transported verticall emn todo o Inundo. 0 con-
traito incliii 16 le\ adori s e 10 escadas rolantes. 38 dessas unidades serao
(10 tipo autotrot ic-o, com seleeiao auton iticA e os m11,is aperfei-oados eC
iotiderilos requisit tlstivol>]vetmdo \s elitcidades d .lat 427 inettros pinor ninuto. Os oito carrots
restantes seria expresses. silihindo ate o 47." andar e de Ia para o 60." pa-
Vlitlento ii)01 dois earros iai n-se t ri'ser\ados ao transported de lnncio-
"aiis c sr ira toilos os pasinlientos.
Sala pri"Cipail d( Cdili'io Ocupar.i :30" dos 10.000 metros quadrados
iservados aI ionstruioK iias toldo o espaio no siisolo sera escavado para
coiter 5 areas sihte rrai neas destinadas a restaurantCs. correio. paineis de


control. caixas-fortes e outras dependencias de ser\i0o. Um grupo de
levadores anutotronicos servird essa ala e inform a Otis Elevator
Company que jamnais outro grupo de elevadores em edificios comerciais
foi planejado para fazer do andar mais elev\ado o andar principal. Cada
elevador deste grupo tern capacidade para :3.625 kg on 53 passageiros.
A Area total dos pavimentos do edificios do The Chase Manhattan Bank
abrangeran mais de 227.000 metros qnadrados. Seus elevadores trans-
portarao diariainente mais de 15.000 pessoas do pr6prio edificio e cerca
de 10.000 clients e visitantes. 0 Banco espera ocupar a ala principal
do predio no come0o de 1960. inas a constru(io coinpleta. pro\vavelmente
naio estara terminada antes de 1962.
Por interessante coincidcneia. o maior contrato para elevadores jainais
firmado em todo o nmundo surge exatamente 100 anos apos a fabricat;io
do primieiro elevador de passageiros ujne custom trezentos dolares e desen-
volvia nina W\elocidiade naxiia de 40 pis por ininuto. Foi instalado pela
Otis, mei1 1857. miii ponto nao muito distant do local onde agora so
erguerli o gigantesco edificio do Chase Manhattan Bank.

















0 cobre e suas ligas


em instalag5es hidr6ulicas domiciliares


A escolha do material para canalizac6es hidrdulicas domiciliares sempre
constituiu motive de preocupag6es para engenheiros, construtores, pro-
priet6rios, nao s6 quanto ao seu custo e lurabilidade, comno tambem
quanto aos prejuizos que possam advir do emprego de materials inapro-
priados ou de baixa qualidade.
Somas vultosas sao dispendidas todos os anos, para a substituicao de
canalizaqces corroidas on obstruidas, corn consideriveis prejuizos para
proprietarios e usuarios. Dai decorre que o custo efetivo de una canali-
zacgo nao esti correlato ao seu custo inicial, imediato, inas a sua dura-
bilidade e vazao constant ou custo mediator.
Se o custo efetivo de uma canalizanCo tem direta relacgo coin a sua
durabilidade, esta reside na maior ou menor capacidade de material, de
resistir a corrosio provocada pelas aiguas utilizadas.
A durabilidade das canalizac6es tem tambem na temperature da igua
um fator de grande importancia, pois e conhecida a influincia da tem-
peratura nas reaches quinicas. Tambem na corrosao, a velocidade aumenta
corn a temperature, pois esta eleva a ionizaciio e a inobilidade dos corps
em reagco. Diferencas de temperature tern grandes efeitos s3bre as
pelicu'as, uma vez que elas fonnain-se em detenninadas temperatures e
em outras naio. As variacbes podem ser de tal vulto, que certas peliculas.
formadas em determinada temperature, dissolvem-se em outras. Exemplos
tipicos sao as peliculas de 6xidos e hidr6xidos (que se formal s6bre o
cobre e o zinco em contato coin a aigua. Enquanto a pelicula de 6xido
e hidr6xido de cobre nao sofre nenhuma modificacio com o aumento de
temperature de agua, a pelicula de hidrato de zinco perde a sua aderncina.
Citaremos algumas autoridades que abordaram o sucesso da aplicacao do
cobre e suas ligas em instalacoes hidraulicas:

U. R. EVANS, M. A., S. D. (a maior autoridade conhecida s6bre
corrosao) em sen trabalho "METALLIC CORROSION PASSIVITY AND
PROTCION" (London Edward Arnold & Co., pag. 388);
Engenheiro FRANZ RITTER, em sua publicacio "CORROSION TABE-
LLEN METALLISCHER WRKSTOFFE";
Cox em seu estudo tecnico "EFFECTS OF TEMPERATURE ON THE
CORROSION OF ZINC" (Ind-Cheu 1931, pigs. 902-904);
"UALIG THE CORROSION HANDROOK" (1948, pigs. 61-63);
MACKAY & W'ORTHINGTON, em "CORROSION RESISTANCE OF
METALS ANDALLOYS" (pags. 406-407).

Pelo visto destaca-se a posic;ao do core, como metal nobre, on sjau,
sua tendencia a corrosao e minima. 0 cobre possui admirnivel resistincia
a todos os tipos de agiias potaiveis, por isso que 6 empregado em tubu-
laq6es de Agua, tanques domeisticos para Agua quente, serpentina, parai
forrar caixas de madeira destinadas a center alimentos, etc. 0 seu grand
de corrosao 6 t5o baixo que pode ser considerado nulo.
0 cobre nunca sofre a inflloencia de atinosferas diferentes do mesnmo
inodo e no mesmo volume do zinco, porquie, quando o cobre corr6i-se
em contato coin nlia atmosf'ra iinida, lima patina verdoenga produz-se
quase instantaneamente sobre a suai suiperficie, quIe o protege de ulteriores
ataques. Esta patina e coinposta, principalinente, de carbonatos basic'
nas areas urbanas e industrials, ou de sulfatos basicos nas areas rurais.
Perto do mar, a patina conlposta, principalmente de clorcto baisico,
sulfato basico e carbonato ibasico de cobre. Qiandu o cobre e eniergido
em solucqao de anidrido carbAnico a patina produzida 6 colnposta quase
inteiramente de carbonato biasico.

Do exposto, conclui-sc queii

a) AS TUBULA(;ES DE (COBE SAO PARTICULAHMEN'TE; APHO-
PRIADAS PABA SEI(VICOS DOMISTICOS DE AGUA I'IUA E
QUENTE;
b) AS TUBULA(C6ES DE COBRE SAO PERFEITAMENTE I ESIS-
TENTES AOS ACENTEIS CORHOSIVOS NOBMAIS, QUE PODEM


SER ENCONTRADOS EM QUAISQUER TIPOS DE ACCIG
POTAVEIS;
c) AS TUBULACOES DE COBRE ELIMINAM OS PREJUIZOS DE
RIVADOS DA CORROSAO, PRINCIPALMENTE PERFURAAC(
E OBSTRUCAO;
d) AS TUBULACOES DE COBRE, PELO FATO DE MNAO S
POSSIVEL A FORMAG(AO DE FERRUCEM E TUBERCULO
NO SEU INTERIOR, GARANTEM UM FLUXO DE AGUA COE
RENTE CONSTANT DURANTE DEZENAS E DEZENAS Ii
ANOS, COM UM MINIMO DE PERDA DE PRESSAO;
e) AS TUBULAGC ES DE COBRE. QUANDO EXPOSTAS. N.AOSO
FREM A MENOR CORROSAO POR PARTE DA ATMOSFERl
DOMESTIC;
f) OS TUBOS DE FERRO GALVANIZADO NAO S.AO ACONSELUI
DOS NOS ENCANAMENTOS DOMICILIARES, QUANDO
ACUA UTILIZADA P, MOLE:
g) OS TUBOS DE FERRO GALVANIZADO NAO( SA(O ACONSE
LIHADOS NOS ENCANAMENTOS DE AGUA QUENTE. MES\I(
QUANDO A AGUA UTILIZADA E DURA.

Alem day's vaiint. a gens adimlila. outra.s pode(rialn sr e'inii'radas. [T0
por exemplo. a ldutibilidade do cobre, que c facility a instalaviio dos tuls
pois podem ser curvados fi'cilinente, copin grande econoinia de conexfl
e de nmao de obra.
Por essas razoes jai conliecidas dos tecnicos. engeniheiros. constnutorei'
de grande parcel das popullaOces. %vem aumentando. dia a dia em tcm
o mundo e tambemi no Brasil. a uitilizancao do cobre las tubuladiies e 0
latito nas conesoes. em instala,oes hidrautlic.is donuiciliarts.
No Brasil. esse modern e perfeito sistcma vein rapidaniente difundindo-
gras;as a Lai inai.t'io Nacionatl du MNetais S.A. a maior f.ibriica
Americia La.tini. de produltos d mliet.is nao-ferrosos. l r' laniiOi
inmercado brasileiro. hi.i potco inlis de 5 anos. os tubos Ives de cA;
"llidrolar" as coniceris de l.itaio "Yorksiire".
Os tubos "llidrolar" saio fabricados coi cobre puro d.i nil is alta (i-i-
dadt e d ;acordo com als especificai5(e,. s dt B.S.S. (Britiahl Stand:
Specifications, Coin paredes mnais finas. pesai. aproximin.adatlniinte
terio dos de ferro galvaniziado.
As conex0ce's "Yorkshire" s5o flabricadas c(im unt1.1 liII especial de lat:
A junta centre o tubho e a conexao i feita por m11io dte sollda. utilizando-
o principio tda attrasiiao capilar de uni modo s1iples Ie in'11enhoso. A soli
estal contida como partce intcgrante da (liolc\ao. locaili/XlI( ci1l 1i11 wOa
no sce interior, eliininando totalinente o rosqucaniento.
Testes levados a iefeito pelo "National PhriNsica.il LabloratoriiiN" ida In-
terra e pelo Instituto i'de Pesmisas Trnlis colii (Iide' Si)r I'Paiil proIur.'
qu(liet a junta e mais forte do qulie o proprio tuiio.
0 inoderno sistClIm "llidrolar-Yorksshire" foi apromado p)ilo Institu:
Adolfo Lutz e o sci eniiprigo .altorizado p'os I).partalIcnto, de Ai
e Esgl'tos de Sio Paulo v do Distrito Federail pielis Prefifiturals de t
os miunicipios brasileiros onde tilm side ilist,i]ido.
Os tlllos de core "llidrolar" Ie as ctonexies "Yorkshire" vnll sInt1110 1p
feridos nlis instalaoy cs hidrliiilicais dos mais miodernos (edificis do10 D'n:
t'ediral, de Saio Padlo. dc Birasilia e de ijiise todas as deialis Capqi:.'
biraisileiras. Citarcinos altg nis jille bmin denionstrain o ir'ito al)s'l11to Y
v\in alean-uaido esses prodotos d(i indiistria national:
Virios Palaeios de Brasilia; Palicio da FaI/eiinda S. PaIulo. M"'llt,
Arte Modernii Distrito li'eder.il: Otton P';il.ace Hotel S-a3 Paul1: D
Bank Sao Pau.io: Banco ida Proxincia P'rto Ali'rrc': l
Multernidilade' (IPESP IAPETC Fspvrrn,-;a Cr'ada ( ri-Iiitii
Sio Paulo); Tubel'CrrIllS: (Lins Frininue pIrto Mv'gr): 110I"
Cllnicas Instituto Penido BH rn r (:;ipinis. (Ediici( s: 1.... .
Cia. Paukista de Seuuros -- Condorninio Irawccili Ind. (ani' -
Moreira Salles Edificio Sio Martinhlio Vilai Norianda I a 1"l
Cllube rIIn Sao Paulo Universidade de Sal ador Clillodllllil"li
e Ila MPorchat ain Saio Vicente.










um problema,


6 Z/7eZ77(oOO 00


no desenvolvimento
du Construcdo (ivill
Instalco6es hidra&licos anttquodo
e couiplic das. cuia nsficiCncro tem
resuitodr em grades preluitos
n6n so no mnicio d' r.nstru6o come
no decorrer do tempo sBo agoro utr
problema a menos aos srs Engenheiro-
e Construtores i E a solucoo exato e c
PIGNATAR
ONEX SISTEMA DE ENCANAMENTOS DE COBRE

Li 1 *a hras idroaai
corn estas reais vantagens:


Economic na mdo-de-obra, pela eliminacao


de rosqueamento I
* Resist&ncia a corrosao e vasdo inalter6vel'
* Neutralidade absolute para cguo potavel!


souic ie a presen(a de um vendedoi


I


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SERVICES TECNICOS DE
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RUA SENADOR POMPEU, 27
TELEFONES 43-1600 43-6990


CASA


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FUNDADA EM 1885


S. A.








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Preco dos mois convenientes

A VENDA NAS BOAS CASAS DO RAMO
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SAO PAULO: P. Julio Riberc, 243- Fcne 9.8131 Marconi, 26-Fone 34.8876 R Oente, 487 Fone 9-5334

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Consullte sem compromisso nossa
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A Escola Publica na Estrada do
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exemplo da arquitetura moder
no. Nesta obra, cujas particular
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ca em concrete armado, foipre
ferido o Cimento MAUA pOr:
o maximo de rendimentot
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Eneas Silva Arquiteto


Lauro Coelho & Cia. Construtores


O cimento Portland MAUA super
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Arquitetos
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lei.: 36-0433


Mauricio Sued e Marcello Fragelli
Arquitetos
Rua Mexico, 70 s/301
Tels.: 42-7807 52-5988


Cardos Azevedo Leao
Arquiteto
Rua Nascimento Silva, 66 apt. 104
TAl.: 27-9795


Sergio Bernardes
Arquitcto
Rua Senador Dantas, 74 11.0 ondar
Tel.: 42-6560








L V U L A


HID


R A


PER FEICAO TECNICA

FUNCIONAMENTO GARANTIDO

DURABILIDADE MAXIMA


v6lvulas

torneira-registros

mar-hydra





acess6rios texteis

pentes-malhas

q u a d r o s I a n 5 a d e i r a s e t c.


m a rca s reg istra das


ME T A L U R G I C A









A V E N ID A R A N G E L P E S T A N A, 1 08 6
F ON E S: 3 4 4 1 7 5 ( R D E INTERNA), 3 5 4 0 5 1
E N D E R 0O T E L E G R A F I C O: MA R H Y D R A
SAO PAULO


MAR


F I L I A L.
R U A F R E I C A N E C A, 55
T E L E F O N E 3 2 0 6 9
RIO D E JANE I R O


F dix











-^ 1
r;?.
Ps Vb"M64* i


Pal6cio Presidencial provis6rio em Brasilia
primeira construcao executada na Nova Capital
projeto de Oscar Niemeyer e construc6o da : -









EMPRESA DE CONSTRUCOES GERAIS S. A.
AV. NILO PECANHA, 12 8.0 ANDAR TEL. 22-9894 RIO

























































Co i Estruturas d e

Volta Redonda

Construiu-se

o Hotel de Turismo

(de Brasilia


Con o cmpric'.o de cstrtiituras incit.ilica.s de Voh
Hedltnda. cstao ipiasc tcrminadatis as obras doopi
inciro hotel d. fiutura capital. o I Hotel de Turism
dcl Brasilia. sitiuado foray do perinictro urbanodi
cidadc. cot local dc bhlca incomparAvel joak
,I lioi artificial q(ilc sc foniiir.i cin coinseueail
ldo rcpre'.uaento do P'arano.i.
I)o dia 9 de manio de 195T. (iuatro \a'cK's da l&d
\ intira dc Viaao i rtcbrairi. na Fabrica de b
trituiras Met.ili'ci.s da Companhia Sidertirgica N-
cional. o carreai; iuni coIstrio;to do Hlotw,. (uomio part da cncomen&i
das priimcira.s sisccitais tontladas dIc estrutiti
(jov foranm cioiprcLadas no cdifio.i.
0 material foi triinsportado iat a cidade de Via
nipolis. a dimi-ntos qitiiion]tros de Brasilia e li
alt o local da construlnio foi lv\ado i'm caminhaa
(aracterisuti
0 Hotel dc Brasilia mcde dotzcntos c tros illet*i
6d Ifrente, tonstanido di quatro pavimiento, que
abrigami c(nto t oitenta ]]iarto(. (oin lbannemiw>
pri\altivos. t al.uiigns ipit tIttts% dtI lu1i. Exile
no pa\jilm'nto tirrco rtstatirantlt. "boite", isa
dt star, cal)itto>s tvIeftnic; as individuiiais, sala de
Icitura, Irlciro, cabclclviciro. t. linitadoss p
gramdcs panos dc \ idro, dit modo a permifit r U
contact dircto cotni ots jardins indtit sO ecIn11triB
a piscinat, lbar joitos. etc.
Kstrc hotcl ('-, oi-o soinntac o pi]miciro (l Brasili'
('"I111 tionlii'hi1] a piriincira cdifici'a ao iniciada r,
sitio da futtra capital, comn a litiliza,.uio de Otm
tnras mntailicas. A obra ion(sumingl(i)l 0 tAl"
ladas de cslruluras, totaIkntcoI fornrcidis PeI
C.S. N. 0 projeto arijoileloiiico ( do l"lto"" ("
Oscar Nicmllfvr, e stand sn ini inaIIInraio, 1 pI
\islta parn joinlhn dlc 198) .














































PRINCIPI


o br

um a

da ge e


ia o de

ospe-

n o b re


M ODERNIS SIIMO



Pr i n cipe c o t el


Av S A o

' e 1 e f o


e 3o o

ei :3 7 -


1072

0181


r e d c i n t c r n a )

S a o P a u 1 o

End. Tel. Principe hotel "


'"~ii


Lllsy-

Lls

















AOd /n7A 'e 20 aono<



LIDERANIA


em tratamento de aguas


As fotos aqui apresentadas referem-se
Onicamente a obros feitos no Capital de
Sao Paulo, para tender ao abastecimento
de mais de 3.200.000 habitantes.
A experience de Byengton & Cia no project
e csnstrucao de Estacaes de Trotamento
de Aguos dcta de mais de 20 anos, atroves de
services em pleno funcionamento em
todo o territ6rio nocional.
A quantidade c'e dgua tratada em
instalacoes Byington seja para obostecimento
de popularoes, seja no compo industrial -
id ultraposso a impressionante cifra de

J7 /Aido e 500 9o / dJo 'e 6 //// 1 e o c'uo 0 po0 6'/
numa verdadeira demonstracao
de lideranco em tratamento de aguas.


Cu", a 5d, Paulo 93 ni I e. l;.
()0 fcr ,


qr.; 'R
I~~P~s: 'p~

R', C'ar Soo Pc.:o 25? r ih" e: -: 1
Sfro, e c- ; p-r -1


Ccab, Sa Pnu -i :h e 5
- 4ttc p-


Alfo do 0o V.ifo ao P, o 26J r)
de (fras ce uC; rar :: 3


Santo Amaro Sao P.uvlo 86 mil!6oes de litros ric runr pwr dis.


BYINGTO IANC"


CQ< /ye ays//7
r04S4'//& 120'wb
9-60AIs n670


Sao Paulo Lgo. MA:s rcordio, I4 '" '' mi-i:r Fone 35 17R7 E i icl Pyyinrlon
Rio de Janeiro Ruo Pedro Le. r, 35 mone 42-405-)5

BELEM RECIFE SANTOS CURITIBA* BELO HORIZONTE PORIO ALEGRE. NOVA YORK






































g:!'tr -


M1arco da historia

economrica de Brasilia.


O Banco Nacional dce Minas Geraisjd esta operando em Brasilia.
Instalado em modern edificio, o primeiro construido na Nova
Capital, esta grande organizaaio de cr6dito que mantem a
niaiur rtde bancAria no atual Distrito Federal confirm sua
hist6rica dcterminazilo de caminhar corn o progress do Brasil,
contribuindo de forma decisi-va para impulsionar as novas f6rqas
cconumicas do pais. Corn 103 agencies c mais de quatro bilh6cs
C oitocCrntos milhocs cm dclp6sitos garantia da confianca que
dcsfruta cni toio tcrr-it6rio o Banco Nacional dce Minas Gerais
cumnprI o scu prorama dcle pionciro do organismo econ6mico
nmcional.


BANCO NATIONAL
DE .1MINAS GERAIS S. A.


IGlI'.VCL IN
10()
Dislrilo
Fedcra I









































EM 30 fiNOS DE BONS SERVICES


demos milhares


de voltas ao redor do mundo, sem sairmos de co!


padronizando pontualidade e conf6rto!


Trinta anos de serviCos prestados. Trinra anos
aiudando a abrir e desenvolver centros de
combrcio e progrcsso por Esse Brasil imenso.
Trinta anos decolando e aterrando nos mais
longinquos reeafntos do pais, transporrando
miquinas e cargas, passageiros e correspon-


dcncias, reunindo amigns e aproximanlo
irmaos. Trit.ta anos selecionando tccnicos ec
rreinando pilots nrinta anos merecenido
confiania que se arnplia Trinta anom voandlo
dia e note, ajudando o nirte a se encon-
trar corn o Sul '


Y.o's dia de 1- hojr. com na iircs super-mo-
S demrrno, a. frotas de DIC-3 (G)nmair-34O
* do CRIZEIRO IH) S L. serrindo alma imensa
* rrde d( rillrdades braileiras,. ai-m unima quilome-
* tracem eqauitalente a "roto r nivin diariamenle
a a redor do mundo". omams erm 30 anos, 262.800
Shoras de rapidez, pontualidadce r rcnf6rto!
.'I


SERVICES AEREOS CRUZEIRO DO SUL
Av. Rio Branco, 128 Tel. 42-6060 Av. Nilo Peganho, 26-A Tel. 32-7000 e 42-6060 R. 206


'~ "c-ijlaOw
















(EDMIPAFTIIhA DIE [CIImIEIJTTi

AILIE D[D IPAIllRA iBAI























CIMENTO T U P I mr-


'K?~ I:


O CI ME N T O S I D E R U R GI C O

FERRO -PORTLAN D, QUE ALEM

DAS CA R A C T E R I S T I C A S DOS CI-

MENTOS COMU NS, TEM A VAN-

TAGEM DE O F E R E C E R: I- BAI-

XO C A L O R D E H I D R ATA A O, 2-R E-

S I S T E N C I A EX C E P C I O N A L A O

AT A Q U E DO S U B-SO LO E D AS

AGUAS DO MAR, 3-EXPANSI -

B I L IDADE MINIM A, 0 QUE LHE

D A GRAND E E S T A B I L I D A D E,

4 M X I M A E P R O G R E S S I-

VA R E S IS TE N CI A A CO MPR ESSAO


ESCRITORIO: RUA DO CARMO, 3 8 3.0

T E L. 32-8878 RIO D E J A N E I R O

FABRICA: VOLTA REDONDA EST. DO RIO

END. TELEG. FERCIMENTO C. POSTAL, 5088








no va sede de ' o c r u z e ir o "


U

c17


4i


c o n s t r

guana


utora
bara
ada


rua a varo alvim, 31
1 8. andar sala 1802
fones: 32-5968 32-9672


t.
4, -l.y,
)It~rs
~L~~~~
3PppiR
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C-~]


~- `'








VA RIO


LINHI S IN IERN I CIO NAIS


S0 MES IC S


I 0.0 r11-0O


* C,,,i


FROTA VARIG
ovibes Super G Constellation
3vi6es Convair 240
avi5es Curtiss-Commando
avioes Douglas DC-3


*z


lI,.


r',
t


at


I-I-











Ij.&I


litoceramica
DARA PERSONALIDADE AS CONSTRU CES EM BRASILIA












ceramica sao caetano s. a.

LOJA RUA 3 DE DEZEMBRO. 68 TELS. 32 4329 32-3429 SAO PAULO
LOJA-RUA SENADOR DANTAS, 80- A TEL. 42-3158 iREDE INTERNAL RIO
































traductions

uebersetzungen







































TEMOIGNAGE

Oscar Niemeyer


Les travaux de Brasilia d6finissent, conjointement avec le project
du Mus6e de Caracas, une nouvelle tape de mon travail profes-
sionnel. Celle-ci est caract6risbe para une recherche constant de
concision et de purete, ainsi que par une plus grande application
aux problemes fondamentaux de l'architecture.
Cette tape, qui repr6sente un changement dans ma maniere de
cr6er et, principalement, de developper les projects, est le fruit de
longues meditations. Elle n'a pas surgi come une formule dife-
rente, recquise par des probl6mes nouveaux. Elle deriva d'un
processes honn&te de froide revision de mon travail d'architecte.
En verit6, depuis que je suis rentr6 d' Europe, apres I'avoir
parcourue de Lisbonne A Moscou, en y observant attentivement tout
ce qui se rapporte a architecture, mon attitude professionelle a
beaucoup change.
Jusqu'alors, il me semblait que, malgre ses qualitis 6videntes,
1'architecture br6silienne devait 8tre considr&e avec certaines re-
serves. Je croyais, come je le crois encore, que sans une just
r6partition des richesses, pouvant atteindre tous les secteurs de
la population, l'objectif de base de I'architecture, c'est-a-dire son
fondement social, ne pouvait qu'ktre sacrif6 et I'architecte rel6gu6
A satisfaire simplement les caprices de la classes aisee.
Ce sentiment provoquait un certain d6couragement, qui m'amenait
A considered que ceux qui s'adonnent corps et Ame T'architecture,
comme s'ils construisalent des oeuvres durables, 6taient des naifs.
Bien que je n'aie jamais cesse de m'interesser A ma profession, je
consid6rais l'architecture comme le complement de choses plus
importantes et en rapport plus 6troit avec la vie et le bonheur
des hommes. Ou alors, comme je le disais souvent, comme un
exercise qu'il faut pratiquer dans un esprit sportif... et rien de
plus. Cette attitude permettait une certain negligence, facilit6e
par mon caractere de boh6me peu ordonn6, m'amenant A accepter
trop de commander, que j'ex6cutais A la hAte, parce que je me
fiais A 1'habilet6 et A la capacity d'improvisation don't je me jugeais
capable.

Ce fut ce manque de foi, n6 de conditions professionnelles dues
aux contradictions sociales, qui m'amena parfois, a n6gliger certain
problemes et fut la cause d'une tendance parfois excessive
l'originalit6, encouragee par les propres interess6s, d6sireux de
donner plus de repercussion A leurs commander. Ceci nuisit, dans
certain cas, a la simplicity des constructions et A la ligne logique
et 6conomique qu'elles exigeafent.
II est vrai que je considere seulement miennes les oeuvres aux-
quelles j'ai pu me consacrer avec regularitA et que je pr6sente
comme telles dans les revues et publications techniques. Mais


meme parmi ces oeuvres-la, j'en troupe qu'il aurait peut-6tre mieux
value ne pas projeter, A cause des inEvitables modifications qui
devaient fatalement surgir, au course de la construction d'immeubles
destin6s, purement et siniplesment, a la speculation.
Naturellemente, je n'ai nullement I'intention de commencer un
processus d'autodestruction, par ces commentaires, ni celle de
d6nigrer mes travaux. Je les vois, au contraire, comme des facteurs
positifs dans l'ensemble du movement architectural bresilien,
auquel ils offrirent, au moment opportun, de par leur elan et leur
sens createur, une contribution effective, qui le caracterise jusqu'a
aujourd'hui. Si me r6efre A cette autocritique, commence il y
a deux ans, alors que j'6laborais le project du Mus6e de Caracas,
c'est parce que je la considere comme un processus normal et
constructif, pouvant amener a corriger les erreurs ct A obtenir
de meilleurs resultats en pregnant une serie de measures disciplinaires.
Dans mon cas, il s'agit, premierement, de r6duire les commandes
et de refuser syst6matiquement celles qui visent exclusivement a
des int6erts commerciaux, afin de mieux pouvoir m'adonner aux
autres r6alisations et leur consacrer toute mon attention, en per-
nianence, et ensuite d'etablir, pour les nouvreaux projects, une series
de r6gles, recherchant la simplification de la forne plastique et
son 6quilibre avec les problemes fonctionnels et de construction.
Dans cc sens, cc sont, maintenant, les solutions compactes, simples
et geometriques qui m'int6ressent, ainsi que Ics problems
d'hierarchie et de caractere architectonique, les accords d'unit6 et
d'harmonie entire les batiments et, enfin, une expression qui ne
provienne pas de leurs elements sccondaires, mais de leur propre
structure, dsment int6gr6c dans la conception plastique original.
Dans cc meme but, je me suis mis A 6viter les solutions recoupces
ou composes de nombreux 6l6ments, qui sont difficilcs A contenir
dans une forme pure et d6finie; les revktements inclines et les
forces libres, qui, d6figurbes par I'incompr6hension ct l'ineptic
de quelques- uns se transformnient en une exhibition ridicule de
syst6mes et de types diff6rents.
Tout cela, en essayant de ne pas tomber dans un faux purisme,
dans un formulaire monotone de tendance industrielle et en restant
toujours conscient des immense possibilities du ciment ann6 et
sur mes gardes, afin que cette nouvelle position ne se transfonne
pas en une barri6re infranchissable, mais me donne, au contraire,
occasion de lancer librement des idWcs et des innovations.
C'est en ob6issant fid6lement A ces principles que je travaille
depuis cette 6poque. J'ai commence cette phase, coinne je l'ai
dit plus haut, par le project du Muske de Caracas, don't la concep-
tion est d'une puret6 ct d'une concision incontestables. Et je
continue, maintenant, par les projots de Brasilia, auxquels je








consacre toute mon attention, non seulement parce qu'il s'agit
d'une oeuvre de la plus grande importance, mais encore a cause
des 6vBnements ant6rieurs a son developpement, alors que je
refusal d'accepter l'6laboration du Plan Pilote, car, je luttais,
conjointement avec l'Institut des Architectes du Br6sil, pour
l'organisation d'un concours public, en me r6servant seulement le
soin de projeter les batiments gouvemementaux. Cette tAche
rn'etait que la continuation naturelle des travaux que j'ai realists,
d'une mani6re ininterrompue, depuis 1940, pour le pr6fet, le gou-
vemeur et, finalement, le president Juscelino Kubitschek.
En ce qui concern les travaux de Brasilia, qui, je l'esp6re, seront
mes oeuvres d6finitives, j'ai dI r6soudre trois problemes differents:
celui du batiment isole, permettant de donner libre-cours a 1'ima-
gination, tout en exigeant des caractristiques d6termin6es; celui
du bAtiment monumental, dans lequel le detail plastique cede le
pas a la grande composition; et, enfin, la solution de 1'ensemble,
qui exige, avant tout, de l'unit6 et de l'harmonie.
Pour le Palais du Gouvernement, mon objectif a Bte de rencontrer
une formule qui ne se limitat pas A caracteriser une grande r6si-
dence, mais d6finisse un veritable palais, congu dans l'esprit
monumental e noble qui doit 1'empreindre. Pour cela, j'ai tir6
parti de la propre structure, qui accompagne tout le d6veloppement
de la construction, a laquelle elle done de la 16g6rete, de la
dignity et cet aspect diff6rent... comme si elle se posait suavement
sur le sol. C'est dans ce but que les colonnes s amincissent aux
extr6mit6s, permettant de donner aux dalles une 6paisseur de quinze
centimitres dans I'axe de chaque 6cartement, grace au system
de vofite sur lequel elles sont bases, ce qui cr6e l'int6gration
parfaite de la forme, qui caracterise et exprime le bAtiment, avec
le propre systeme de structure.
Dans le batiment du Congres, mon but a ete de determiner les
elements plastiques d'apr6s les diff6rentes functions, en leur donnant
importance relative recquise et en les traitant, dans leur ensemble,
comme des formes pures et 6quilibr6es. C'est ainsi que la ligne
horizontal de composition est marque, dans I'immense esplanade
et forme un contrast avec les deux blocs, destin6s A I'administration
et aux bureaux des parlementaires, et que les sales des reunions
plenieres se d6tachent, cr6ant, avec les autres 6ele6ments, ce jeu
de formes, qui est l'essence meme de I'architecture et que Le
Corbusier d6finit si bien: "L'architecture est le jeu, savant, correct
et magnifique des valeurs sous la lumi6re".
Pour la Place des Trois Pouvoirs, I'unit6 a ete ma grande pr6oc-
cupation. Pour celA, j'ai conqu un 6ele6ment structural qui pourrait
servir de d6nominateur commun aux deux palais celui du Gouver-
nement et celui de la Haute Cour et assurer ainsi A 1'ensemble
ce sens de la sobri6te des grandes places europ6ennes, tout en
respectant l'6chelle de valeurs exig6e par le magnifique plan de
Lucio Costa.
Voila done mes directives actuelles d'architecte. Et si elles
s'orientent maintenant dans le sens d'une plus grande purete et
de plus de simplicity, elles sont, cependant, bases sur la meme
conception de creation la seule qui puisse engendrer une
veritable oeuvre d'art.
VoilA les normes des oeuvres sue j'ai projetees pour Brasilia et
don't j'accompagne la construction avec le plus grand soin, car je
suis convaincu de leur importance et je desire qu'elles se trans-
forment en quelque chose d'utile et de permanent, qui puisse
transmettre un peu de beauty et d'6motion.








LA PLACE DES TROIS POUVOIRS ET LE PALAIS
DU CONGRESS

Urbanisme: Lucio Costa
Architecture: Oscar Niemeyer

"M6dulo" presente la Place des Trois Pouvoirs, planifi6e par Lucio
Costa et pour laquelle Oscar Niemeyer a project les Palais du
Couvernement, du Congres et de la Haute Cour.

Voici le point de vue de l'urbaniste, exprim6 par Lucio Costa:

"Les trois immeubles autonomes, destin6s aux pouvoirs fondamen-
taux, ont trouv6 dans le triangle equilatere, relevant de l'architectu-


re de la plus haute antiquity, la forme A61mentaire appropriate pour
les contenir et se d6tachant sur l'ensemble. On a cr66ee, alors, un
terre-plein triangulaire, avec parement de pierre, surplombant la
champagne avoisinante a laquelle l'on a aces par la rape elle-
meme, de I'autostrade qui conduit A la residence et A l'aeroport.
(Fig. 1). A chaque angle de cette place que l'on pourrait
appeler la Place des Trois Pouvoirs on a place 'un de ces
bAtiments, a savoir ceux du Gouvernement et de la Haute-Cour,
a la base, et celui du Congres, au sommet, ce dernier donnant
6galement sur une grande esplanade, dispose sur un second terre-
nlein, de forme rectangulaire et de niveau plus 6lev6, adapt A
la topographie locale et appuy6, lui aussi, sur des murailles sur
tout son p6rimetre. La mise en application, selon une conception
et des proc6d6s actuels, de cette technique orientale mill6naire des
terre-p eins, garantit la cohesion de I'ensemble et lul confere une
emphase monumental imprevue (Fig. 1).

En ce qui concern le Palais du Congr6s, Oscar Niemeyer donne
les explications suivantes:

Solution choisie:

Le project comprend tous les services ayant rapport a la Chambre
et au S6nat. La reunion des deux Assembl6es du Congres dans
un seul batiment vise A une solution plus rationnelle et Aconomique
du probl&me, sans nuire A l'ind6pendance qui leur est indispensable
et permet, de plus, I'installation plus parfaite et plus ample des
services communs, tels que le garage, le restaurant, les sales de
sejour, la bibliotheque, etc. D'autre part la reunion de la Chambre
et du S6nat en un seul bloc former un ensemble monumental,
pouvant, comme ce serait desirable, dominer les autres batiments
de la ville.

Le project comprend trois parties distinctes:

1 Reunions plenieres.
2 Blocs de I'administration.
3 T6lvision.

Le bloc destiny aux reunions pl6nieres represente, de par sa com-
plexit6 et ses functions, le secteur fundamental du project, exigeanl
principalement, la plus grande liaison et intimite possibles entire
ces sales et les services annexes. La solution choisie situe les
sales de reunions pl6niAres dans un grand bloc de trois stages,
de 200 metres sur 80, en liaison directed avec le public et la
press ("parlotes"), le bar et le caf6, les sales d'audience, de
s6jour et de reception, la pr6sidence, la vice-pr6sidence, les sales
des leaders et, A 1'6tage inf6rieur, avec les commissions (40), les
auditoires (10), etc.

Fonctionnement

La circulation, rigoureusement classifi6e, garantira une ind6pendan-
ce complete aux membres du CongrBs, au public, A la press, aux
invites, etc. Les premiers entreront dans le batiment par le
garage, situ6 dans le sous-sol ou, lors d'occasions sp6ciales, par
le grand hall. Les autres, don't la circulation et l'acces seront
egalement ind6pendants, auront seulement un contact direct avec
les parlementaires dans les parlotes ou, lorsqu'ils seront invites,
dans les sales d'audience et au caf6. Au-dessus des sales
pl6nieres se trouvent les sales de st6nographie, de dactylographie,
de traduction, les archives, etc., directement liees aux sales de
seance.
Deux blocs s6par6s de 25 stages contiendront les services adminis-
tratifs la bibliothbque, le restaurant et 600 bureaux destin6s aux
parlementaires. Une salle de television, annexe A I'ensemble, a
Wt6 pr6vue. 5.000 personnel pourront y assister aux s6ances quo-
tidiennes, sans devoir se soumettre a de minutieuses formalit6s.
Les sales pl6ni6res pourront contenir 1.000 personnel, plus 200
journalists et 200 invites, outre les places r6servees A 700 d6put6s
et 100 s6nateurs.

Intention architectonique

Au point de vue architectonique, un bAtiment comme celui-lI
doit 6tre caract6ris6 par ses elements fondamentaux. Dans le cas
du Congres national, ce sont les deux sales des s6ances plenieres
qui representent ces elements, car c'est li que se r6solvent les
grands problems du pays. Notre objectif plastique a 6t6 de leur









donner de 1'emphase, en les situant dans une esplanade monumen-
tale, ou leurs forces s'616vent comme de v6ritables symbols du
pouvoir l6gislatif. Au fond et contrariant la ligne horizontal de
1'esplanade, se dressent les blocs administratifs, qui sont les bA-
timents les plus 6lev6s de Brasilia.

Dans son prochain num6reo, "Modulo" compl6tera la description de
la Place des Trois Pouvoirs en pr6sentant les projects des palais
du Gouvernement et de la Haute-Cour.




LE PAVILION DU BRESIL A L'EXPOSITION
INTERNATIONAL DE BRUXELLES

Architecte: Sergio Bernardes

La simplicity et 1'emploi de mat6riaux modernes, pratiques et
6conomiques caract6risent le project du pavilion du Bresil A 1'Exposi-
tion Internationale de Bruxelles. La solution choisie tire parti de
1'emplacement et des differences de niveau du terrain d'oii
la rampe, qui s'6tend autour d'un jardin tropical, cr66 par Burle
Marx et qui sera protege par un ballon flottant de 6 m6tres de
diamftre. D'autre part, les limitations budg6taires ont amen6
l'architecte A concevoir un type de couverture, form d'une maille
de cables d'acier, recouverts par des plaques de line et sur
laquelle I'on placera deux couches de cucooum entire une autre
couche de b6ton de 3 centim6tres d'6paisseur. Les supports seront
entrecrois6s et s6par6s en port6es de 60 a 40 m6tres. Celles-ci
seront situ6es aux quatre coins de la construction, qu'une couche
du meme cucooum, pos6 sur la fine maille de fils de fer, rendra
6tanche.
Ces solutions permettent une construction plus 6conomique, tout
en la maintenant dans 1'esprit provisoire qui devrait la caract6riser.
Le pavilion du Br6sil a 6tC considered, A just titre, comme le
meilleur de toute l'Exposition.




L'EXPOSITION PERMANENT DE BRASILIA


Le 21 janvier, le President de la Republique a inaugur6, dans les
sales d'exposition du Ministere de 1'Education et de la Culture,
1'exposition permanent et le Centre d'Etudes de Brasilia.
Ensuite, Mr. Israel Pinheiro, directeur de la Compagnie
d'Urbanisation de la Nouvelle Capitale du Br6sil, a fait une con-
f6rence, avec projection de diapositives, sur la construction de
Brasilia.
Depuis, le public a aces a 1'exposition, qui lui permit d'accompag-
ner, de Rio, les travaux executes dans la nouvelle capital, par
des photos, des diagrammes, des plans et des dessins.
Le public de Rio, tout comme, r6cemment, celui de Milan, a
temoigne d'un trAs grand int6r6t pour cette exposition permanent.
Un journal de Rio e annonc6 que 2.300 personnel ont visit
1'exposition pendant les trois premiers jours. Pendant les semaines
suivantes I'afflux de visiteurs s'est maintenu. Le directeur duii
Mus6e d'Art Moderne de New York a longuement visit i'exposition
avec sa femme, Mme. E. Russel et Mme. Paulo Sampaio. Mr. et
Mme. Burden ont eu la m&me reaction que bien d'autres visiteurs
en avouant que maintenant ils avaient encore plus envie qu'avant de
connaitre Brasilia. "Nous ignorions que les travaux 6taient telle-
ment avance6s" ont-ils ajout6. Mr. Israel Pinheiro les a invites a
visitor Brasilia avec la directrice du Mus6e d'Art Moderne de Rio
de Janeiro, Mme. Niomar Moniz Sodr6 et ils y ont pass un jour
et une nuit.
En m&me temps, le Centre d'Etudes de Brasilia le C.E.B. -,
installA dans le m6me local, pursuit son programme d'activites
culturelles, lies A la construction de la future capital. Le C.E.B.
recoit les strangers, d6sireux d'obtenir des informations et des
donn6es sur Brasilia et organise un vaste programme de confe-
rences, de publications, de reunions et do discussions se rapportant
aux principaux aspects artistiques et culturels du futur siege dii
Gouvernement bresilien. Des journalists, des 6crivains, des criti-
ques d'art, des peintres, des sculpteurs et des architects ont
pr6sent6 leur point de vue et fait des suggestions, afin quoe le
C.E.B. puisse travailler le mieux possible au profit des arts et de
la culture du Br6sil.


Plus tard, le Centre invitera des personnalit6s d'une reputation
international A participer aux d6bats exig6s par une entreprise
aussi gigantesque.
Le grande nombre de personnel qui comparurent au MinistBre de
I'Education et de la Culture lors de l'inauguration de l'Exposition
permanent et du Centre d'Etudes de Brasilia est une nouvelle
preuve d'int6r&t et d'appui A la construction de la nouvelle capital.
L'exposition permanent, installed dans les grandes sales de l'en-
tresol du MinistBre de l'Education et de la Culture, pr6sente:
des maquettes des principaux travaux en course d'ex6cution, tels que
le Palais du Pr6sident, le Congr6s, des units d'habitation, etc.;
des photographies et des dessins (execut6s par I'architecte Oscar
Niemeyer) montrant les divers angles de ces m&mes projects; des
photographies des travaux r6cemment commences, y-inclus de
routes, de pavements de rues, etc.; des graphiiques d6monstratifs
de la march des travaux, des prochains travaux a entreprendre et
du d6veloppement future de la ville; des modules de tableaux et de
fresques murales, commands 6 des artistes renommes, tels que
Portinari, Saldanha, Di Cavalcanti, Mary Vieira et d'autres; des
6chantillons des mat6riaux de constructions qui se rencontrent dans
la region.
La caract6ristique principal de cette exposition est son renouvelle-
ment constant qui permet de donner une idee de l'6volution des
travaux de construction de la ville qui deviendra la capital du
Br6sil. Les "stands" ont 6et organisms par Artur Licio Pontual.





LE MUSEE D'ART MODERNE DE RIO DE JANEIRO



Le 27 janvier dernier, le Muse6 d'Art Moderne de Rio de Janeiro
a solennellement inaugur6 son siege d6finitif, situ6 sur le remblai
de l'avenue Beira-Mar, au bord de la baie. Ce batiment moderne,
projet6 par I'architecte Affonso Eduardo Reidv, n'est pas encore
termin6, mais les installations actuelles s'int6grent parfaitement
dans 1'esprit du Mus6e d'Art Moderne, don't les dix ans d'existence
sont caract6ris6s par une activity dynamique et ininterrompue.
C'est dans ce meme esprit que le musee a inaugure son nouveau
si6ge, en pr6sentant, d'emblee, une exposition des oeuvres du
peintre anglais Ben Nicholson et, dans une autre salle, une exposi-
tion de sculptures anglaises contemporaines. Un programme
d'activit6s intense est d6ja announce pour cette ann6e. Tout d'abord
la venue de Friedlaender, I'tin des professeurs de gravure les plus
renommes de l'actualit6, et l'inauguration des course de gravure
du musee, dans ]'atelier sp6cialis6 le plus moderne de toute
1'Am6rique latine. La retrospective de maitres br6siliens sera un
autre 6v6nement important. Les festivals de cinema particuli6re-
ment du cinema am6ricain, anglais. francais, italien et de la cin6-
math6que de Rio de Janeiro m6ritont 6galement utine mention
sp6ciale. D'autres expositions et d'autres movements cultures se
succaderont, come ils se sont toujours succi6ds pendant dix ans
d'activit6s utiles et constants. Vraiment, nous avons pine a
croire que cette admirable institution soit encore tell:ment jeune.
C'est en 1948 qui'elle a &ti cri6r grace A l'initiative d'Fun Croupe
d'enthousiastes, A In tete duquel sc trorivait Ravmundo Castro Mava.
Elle s'installa avec line drnoi-douzaine de travaux dnns les sales
de Ia Banque Boavista quoe l Baron de Saavedra mit a sa disposi-
tion. En fait, Ia vie dlu Musre d'Art Mnod er commenca rc6llement
en 1951, lorsouc ses ancins dliricpants pnriernt madame Niomar
Moniz Sodr6 d'en assumer ia dlirection. DWs la preniiire hIur.. clle
s'adonna corps et Alme a rine campane, dlestin6r e A fair dui mus6'
autre chose que le rvle dc quclques idcalistes, don't lc mcritc
est, d'ailleurs, ind6niahlo. Pendant touts cos ann6es. madame Nio-
mar Moniz Sodr6 a 6t6( I'mne dI MIusc d'Art Moderne. Ellc liii
a donn6 lec mcilleur dr srs forces et de son indiscutablo canaciti.
Elle s'occupe constamminnt do institution don't clle est Il d6fenseur
infativable, quel quo soit l'ondroit oi6 rlle se trouve: an Br6sil. auxs
Etats-Unis, en Europe... Cc fut die qui ohtint son dmernagement
ct put I'installor provisoiremcnt au Ministere de 1'Education et de
Ia Culture. Ce fut eile qui, grace a nn travail acharn6 ct inlassable.
transform ce silCc provisoiro en F'un drs principaux centres
d'activitks ciiltircllcs do ]a ville. Cc fit Pile, cnfim, qui dcvint
pour tols Il svmhol. dii Miis6e d'Art Modrne, g6n&crusnrmcnt
offcrt a cetto ville do Rio do Taneiro ot qui roprcscntc, aujourd'huii,
un patrimoinc don't la valour nc pout 6tre calcul6Cc, car il croit
dc jour en jour.

Traduction d'Yvonnc ]cnn







































BEKENNTNIS

Oscar Nienieyer


Die Bauten fuer Brasilia, und vorher das Projekt fuer das Museum
in Caracas, stellen eine neue Etappe in meiner Arbeit dar. Eine
Etappe, die durch staendiges Streben nach Praegnanz und Reinheit,
sowie erhoehte Aufmerksamkeit fuer die fundamentalen Probleme
der Architektur gekennzeichnet ist.
Nicht ohne reifliches Nachdenken gelangte ich zu dieser Phase,
die eine Aenderung in der Projek-tierung, und vor allem der
Ausarbeitung meiner Entwuerfe bedeutet. Sie kam nicht wie eine
originelle Formel als Antwort auf neue Fragen, sondern als Folge
eines kuehlen und ehrlichen Revisionsprozesses, dem ich mein
Werk als Architekt unterwarf.
Tatsaechlich hat sich meine professionelle Einstellung sehr
veraendert. seit ich aus Europa zurueckkehrte, wo Berufsangelegen-
heiten mich von Lissabon nach Moskau gefuehrt hatten.
Bis dahin pflecte ich der brasilianischen Architektur -trotz ihrer
unleuebaren Qualitacten mit einer gewissen Reserve zu begeenen.
Ich war der MWinunn und bin es norh heiite dass ohne
eine gerechte, alle Schichten des Volkes esfassende Verteilung der
Gueter das fundamental Ziel der Architektur, ihre soziale
Cnindlace. eeonfert wuerden und unsere Stellung als Architekten
sich darauf beschraenke, die Launen der begueterten Klassen zu
befriedijen.
Ich fuchlite eine vage Unlust. eine Unlust die mich dazu fuehrte.
alle iene als naive z7 betrachtpn. die sich mit Leih und Seele der
Architek-tr widmeten. als ob sie Werke von Bestand bauten.
Ohwohl ich nic das Interesse an meinem Benruf verlor. betrachtete
i'h il n1 a Komnlement wichtinerer Dinee, die zu Leben und
Wohl der Menschen in engerer Beziehung standen. Oder wie
ich zu sneen pflecte als eine Uehbn!z. die mit sportlichem Geist
auseefuehrt sein wollte und weiter nichts! Diese Haltung hatte
Pinp newisse Nachlaessickeit z7r Folqe. die durch meine leichtfertice
Bohcme-Natur noch unterstuctzt Nwurde: ich uebernahm zu viel
Arheiten und ficihrte sie Hals ueber Kopf aus. wobei ich mich auf
mine Ceschicklichkeit und Improvisationsgabe, deren ich mich
flier faehig hielt, verliess.
Diese unglaeubigce Einstellune. hervorgerufen durch die sozialen
Gegensaetze in ihrer Beziehung zu den Zielen unserer Profession,
less mich zuweilen cewissr Probleme vernachlaessigen und eine
nebermaessige Tendenz zur Originalitaet hervorkehren, die von
den Auiftraggebern noch stimuliert wurde. denn feder wuenschte
mit seinem Gehaeude besonderes Aufsehen und Sensation zu
errecen. Dies beeintraechtigte in einigen Faellen die Einfachheit
des Banes und den Geist der Logik und des Masses, der oft
erforderlich gowesen were.


Allerdings betrachte ich als "meine Werke" nur jene, denen ich
mich regelmaessig widmen konnte und die ich als solche
Publikationen und technischen Zeitschriften unterbreite. Aber
selbst unter diesen finde ich immer noch einige Arbeiten, die
nicht zu entwerfen vielleicht besser gewesen waere; in Anbetracht
der unvermeidlichen Aenderungen, die sich waehrend ihrer
Ausfuehrung ergeben muessten, da sie ja ausschliesslich zur
Immobilienspekulation bestimmt waren.
Es liegt mir natuerlich fern, mit diesen Bemerkungen einen
Prozess der Autodestruktion beginnen oder meine Arbeiten
herabsetzen zu wollen. Im Gegenteil, ich betrachte sie als positive
Faktoren, die im richtigen Moment durch ihren Schwung und
schoepferischen Geist konkret zur Bewegung der Brasilianischen
Architektur beigetragen haben und sie bis heute kennzeichnen.
Und wenn ich ueberhaupt diese Selbstkritik erwaehne, mit der
ich vor 2 Jahren began als ich an dem Museumsprojekt fuer
Caracas arbeitete, so geschieht dies nur, weil ich sie fuer einen
normalen und konstruktiven Vorgane halte. der zur Korrektur von
Fehlern und zu beserren Resultaten fuehren kann, indem wir eine
Reihe von Vorkehrungen und Massregeln treffen. In meinem Falle
hestehen diese erstens in der Verringerung der Atelierarbeiten und
der svstematischen Ablehnung jener Auftraege. die nur kommerzielle
Vorteile bieten, so dass mir mehr Zeit fuer die uebrigen Arbeiten
bleibt und ich mich ihnen staendiE im erforderlichen Ausmass
widmen kann, und zweitens in der Festleeung einer Serie von
Normen fuer neue Projekte, die eine Vereinfachung der plastischen
Form und Wahrune ihres Gleichgewichtes eegenueber konstruktiven
und funktionellen Problemen zum Ziele haben.
In diesem Sinne interessierten mich nun kompakte, einfache und
geometrische Loesungen; Probleme der Hierarchie und des
architektonischen Charakters; Bedingungen der Einheit und
Harmonie von Gebaeuden und die Forderung, diese nicht durch
zweitransige Elemente zum Ausdruck zu bringen, sondern durch
die Struktur selbst, die im originellen plastischen Vorwurf integriert
1st.
Vom gleichen Standpunkt ausgehend, suchte ich allzu zergliederte
oder aus vielen Elementen bestehende Loesungen, die sich schwer
in eine definierte und reine Form einfuegen lassen, zu vermeiden,
sowie auch die Verwendung von Schraegen und freien Formen,
die, durch Unverstand und Unfaehickeit verbildet. oft zu einer
laecherlichen Schau verschiedenster Svsteme und Tvpen werden.
Und bei alledem trachtete ich, nicht in einen falschen Purismus,
in ein monotones, industriell orientiertes Schema zu verfallen, immer
bewtusst der enormen Moeglichkeiten des Betons und stets auf









der Hut, damit diese neue Einstellung nicht zur unueberwindlichen
Barriere werde, sondern vielmehr ungezwungen neue Ideen
ausloese.
Seit jener Zeit befolge ich in meiner Arbeit diese Prinzipien.
Ich began die neue Phase wie gesagt mit dem Museum von
Caracas, dessen Linien von unbestreitbarer Reinheit und Praegnanz
sind. Und jetzt halte ich sie in meinen Gebaeuden fuer Brasilia
ein, denen ich vollste Aufmerksamkeit zuwende, nicht nur, weil
es sich um ein sehr bedeutendes Werk handelt, sondern auch
wegen der seiner Realisierung vorangegangenen Ereignisse, als
ich mich weigerte die Ausarbeitung des Orientierungsplanes zu
uebernehmen da ich mich, mit dem Instituto de Arquitetos do
Brasil, fuer die Ausschreibung eines Wettbewerbes einsetzte -
und mir nur das Entwerfen der Regierungsgebaeude vorbebielt.
Diese Aufgabe ist eigentlich nichts weiter als die natuerliche
Fortsetzung der Arbeiten, die ich seit 1940 fuer den Praefekten,
den Gouverneur und schliesslich den Praesidenten Juscelino
Kubitschek in ununterbrochener Folge durchfuehre.
Bei den Arbeiten fuer Brasilia, die so hoffe ich mein
endgueltiges Werk sein werden, sah ich mich vor drei verschiedene
Problem gestellt: Das isolierte Gebaeude, das der Phantasie voile
Freiheit gestattet, aber eigene Charakterisierung verlangt; das
monumental Gebaeude, wo das plastische Detail der grossen
Komposition weichen muss; und schliesslich der Gebaeude-Komplex,
der vor allem Einfachheit und Haimonie erfordert.
Bei dem "Alvorada"-Palast war es mein Zi7Ael eine Auffasung zu
finden, die sich nicht darauf beschraenkt, ein grosses Wohngebaeude
zu kennzeichnen, sondern einen wabrhaften Palast mit der einem
solchen gebuehrenden Monumentalitaet. In diesem Sinne entwarf
ich die Grundstruktur, welche die Gesamtentwicklung des Baues
begleitet, und verlieh ihr Wuerde und Grazie und jenen besonderen
Ausdruck, als ob das Gebaeude kaum den Erdboden beruehrte.
Dementsprechend verschmaelern sich die Saeulen an den Enden,
so dass den Betonplatten im "voOite"-Cystem auf dem sie
beruhen. in der Achse jeden Intervalls eine Dicke von 15 cm
zukommt, wodurch sich eine vollkommene Verschmelzung der das
Bebaeude charakterisierenden und versinnbildlichenden Form mit
dem System der Crundstruktur ergibt.
Im Falle des Kongressgebaeudes war es mein Bestreben, die
plastischen Elemente entsprechend ihren verschiedenen Funktionem
zu fixieren und ihnen ihre jeweilige Bedeutung zu verleihen,
wobei ich sie im Komplex als klare und ausgeglichene Formen
behandelte. In diesem Sinne markiert eine weite Esplanade, im
Kontrast zu den beiden Blocks der Administration und der Bueros
der Kongressmitglieder, die Horizontale der Komposition, von der
sich die Plenarhallen abheben und somit, im Verein mit den
uebrigen Elementen, jenes Spiel der Formen entsteht, das die
wahre Essenz der Architektur ist und von Le Corbusier so treffend
definiert wird: "L'architecture est le jeu, savant, correct et
magnifique des valeurs sous la lumiere".
Bei dem "Platz der 3 Gewalten" galt mein Hauptaugenmerk der
Einheit und Geschlossenheit; ich fuehrte deshalb ein strukturelles
Element ein, das als gemeinsamer Nenner der beiden Gebaeude -
"Planalto"-Palast und Oberster Gerichtshof wirken koennte,
wodo-lch innerhalb des von Lucio Costas wunderbarem Plan
geforderten Wertmasstabes dem Gesamtkomplex der Ausdruck
schlichter Wuerde der grossen europaeischen Plaetze verliehen
were.
Dies sind heute meine Richtlinien als Architekt. Und wenn sie
auch jetzt im Sinne groesserer Schlichtheit und Reinheit orientiert
sind, beruhen sie doch auf der gleichen Idee der Schoepfung, -
der einzigen die imstande ist, ein echtes Kunstwerk hervorzubringen.
Nach diesen Prinzipien habe ich die Projekte fuer Brasilia
entworfen, denen ich meine groesste Aufmerksamkeit schenke, denn
ich bin von der Wichtigkeit dieser Arbeiten ueberzeugt, und es
ist mein Bestreben, sie zu etwas Nuetzlichem und Bleibenden zu
gestalten, etwas das ein wenig Schoenheit und Gefuehl zu
vermitteln vermag.



PLATZ DER DREI GEWALTEN UND KONGRESSPALAST

Urbanistik: Lucio Costa
Architektur: Oscar Niemeyer

Modulo bringt Lucio Costa's Projekt zum "Platz der 3 Gewaltcn",
fuer den Oscar Niemeyer drei Gebaeude entworfen hat:
Kongresshaus, "Planalto"-Palast und Oberster Gerichtshof.
Ueber den urbanistischen Aspekt aeusserte sich Lucio Costa in
seinem Bericht zum Orientierungsplan folgendermassen:


"Aus dem Gesamtbild heben sich die Gebaeude der dreifachen,
doch unabhaengigen Regierungsbehoerde hervor, die im gleichsei-
tigen Dreieck in der Tradition der Architektur aeltester Zeiten
ihren elementaren und entsprechenden Rahmen gefunden haben.
Es wurde also eine dreieckige Terrasse mit einer robbehauenen
Steinboeschung geschaffen, die sich etwas ueber ihre Umgcbung
erhebt und durch die Rampe der zur Residenz des Praesidenten und
zum Flughafen fuehrenden Autostrasse zugaenglich ist (F. 1). In
den drei Ecken dieses Platzes "Platz der 3 Cewalten" koennte
man ihn nennen sinde die Gebaeude so verteilt, dass der Sitz der
Regierung und des Obersten Cerichtshofes an der Basis des Dreiecks
liegen, und an seiner Spitze das Kongresshaus, dessen Front
wiederum auf eine zweite, der lokalen Topographie entsprechen
hoeher gelegene rechteckige Terrasse blickt, die ehenfalls in ihrer
ganzen Laenge von einer Steinboeschung begleitet wird. Die
moderne Abwandlung dieses Jahrtausende alten orientalischen
Technik der Terrasen verleiht dem Gesamtbild grosse Geschlos-
senheit und eine ueberraschende monumental Wirkng (F. 1)."
Zu seinem Projekt des Kongresshauses gab Oscar Niemeyer folgende
Aufklaerungen:
Das Projekt umfasst alle Abteilungen und Einrichtungen der
Abgeordnetenkammer und des Senates. Die Vereinigung der beiden
Haeuser in einem einzieen Gebaeude sucht die rationellste und
praktischste Loesung des Problems; dadurch wird der notwendigen
Unabhaengigkeit voneinander kein Abbruch getan, jedoch die
Moeglichkeit eeeeben, gemeinsame Einrichtungen (Garagen,
Restaurant, Bibliothek, Salons, etc.) kompletter und geraeumiger
zu gestalten. Auch werden Kammer und Senat in einem einzigen
Block eine wahrhaft monumental Einheit bilden die, wie gefordert,
die uebrigen Bauten der Stadt dominieren wird.

Das Projekt gliedert sich in 3 deutlich getrennte Teile:
1 Plenarversammlungshallen
2 Administrationsgebaeude
3 Television

Den Hauntsektor des Projektes bildet infolge seiner Funktion und
Vielfaeltiekeit der Block der Plenarhallen, wo es vor allem auf
bessere und intimere Verbindune zwischen diesen und den
Nebenabteilungen ankommt. Der Plan verleet die Plenarhallen
in einen erossen Block von 3 Stockwerken (200 x 80 m) mit
direkter Verhindung zu Pib'ikum und Presse (Sprech7immer). zu
Bar ind CnfA. Ani'-n7.z- Warte- iind F.mnfancssaelen. Praesidiuim,
Vicepraesidiuim, Bueros der Parteifuehrer und. im unteren Stock,
zu den Racumen der Kommissionen (42), den Auditorien (10), etc.

Betrieb:

Das interne Verkehrssvstem, strenfg gesondert fuer Kongressmit-
elieder. Publikum. Presse. Gaeste. etc., sichert vollkommene Unab-
haeneiekeit. Erstere haben durch die Garacen im Tiefgeschoss
und bei besonderen Celegenheiten durch die crosse Halle Zutritt.
Alle anderen ebenfalls unabhaencig voneinander was Zirkulation
und Zurrane betrifft werden mit den Kongrersmiteliedern nur
in den Snrechzimmem oder. auf Einladune. in den Audienz-lind
Kaffeesaelen in Beruehune kommen. Unterhalb der Plenarhallen
lieeen die Raeume der Stenoeranhcn, Tvpisten. Ueberset7er, das
Archiv, etc., mit direkter Verbindung zu den Sitzungssaelen.
In zwei gesonderten, 25 Stock hohen Blocks sind Administration,
Bibliothek, Restaurant ind 600 Biueros fuer die Konuressmitelieder
untergebracht. Im Anschluss an diesen Komplex ist die Televisions-
halle vorresehen. wo 5000 Personen ohne weitere Formalitacten
taegllch den Vorfuehrungen bciwohnen koennen.
Die Plenarhallen besitzen Fassungsraum fuer 1000 Personen plus
200 Journalisten und 200 Gaeste, ausser den Sitzen fuer 700
Abgeordnete und 100 Senatoren.


Architektonirches Bestreben:


Vom Standpunkt der Architektur muss ein Bauwerk wie das
Kongresshaus durch seine fundamentalen Elemente gekennzeichnet
sein. Im vorliegenden Falle sind diese Elemente die beiden
Plenarhallen, wo die vitalen Probleme des Landes geloest werden.
Ihnen hoechste Emphase zu verleihen, war unser plastisches Ziel,
und so verlcgten wir sie in eine monumental Esplanade, wo ihre








Formen sich gleichsam als Symbol der gesetzgebenden Gewalt
abheben. Kontrastierend mit der horizontalen Linie der Esplanade
ragen im Hintergrund die Administrationsgebaeude, die hoechsten
Brasilias.

In seiner naechsten Nummer wird Modulo die Veroeffentlichung
des Projektes des "Platzes der 3 Gewalten" mit den Plaenen des
"Planalto"-Palastes und des Obersten Gerichtshofes abschliessen.



DER BRASILIANISCHE PAVILION AUF DER BRUESSELER
WELTAUSSTELLUNG

Architekt: Sergio Bernardes

Das Projekt des brasilianischen Pavillons auf der Bruesseler
Weltausstellung wird durch seine Schlichtheit und die Verwendung
moderner, praktischer und oekonomischer Materialien gekennzeich-
net. Die gefundene Loesung sucht Lokalisierung und Niveauunter-
schiede des Gelaendes vorteilhaft auszunuetzen, wie im Falle der
Rampe um einen von Burle Marx geschaffenen tropischen Garten,
den ein schwebender Ballon von 6 m Durchmesser schuetzt. Die
durch den Kostenvoranschlag gebotenen Einschraenkungen
bestimmten ihrerseits die Art der Bedeckng: ein Geflecht aus
mit Linex-Platten ueberzogenen Stahlseilen, das von 2 Schichten
Cocooum und einer darueberliegenden 3 cm dicken Betonestrich
bedeckt wird. Die stuetzen aus gekreuztem Lattenwerk, in
Abstaenden von 60 und 40 m, nehmen die 4 Ecken des Baues ein,
der ebenfalls mit Cucooum, das auf ein feines Drahtnetz aufgetragen
wurde, verkleidet ist.

Diese Faktoren verbilligten den Bau und betonen den ihn
kennzeichnenden provisorischen Charakter. Mit Recht wurde der
brasilianische Pavilion als der gelungenste der Ausstellung
angeschen.


BRASILIA IN PERMANENTER AUSSTELLUNG

Der Praesident der Republik Dr. Juscelino Kubitschek eroeffnete
dortsselbst ein den Problemen Brasilias gewidmetes Studienzentrum
des Unterrichtsministeriums. Bei dieser Gelegenheit wurde
am 21. January die Pennanente Brasilia-Ausstellung in den Saelen
eingeweiht.
Im Anschluss daran hielt Dr. Israel Pinheiro, Praesident der
Lichtbildvortrag ueber den Aufbau Brasilias. Die nunmehr dem
"Companhia Urbanizadora da Nova Capital do Brasil" einen
Publikum frei zugaengliche Ausstellung erlaubt es, an Hand von
Photos, Modellen, Diagrammen und Zeichnungen den Fortschritt
der Arbcitcii in der zurueiitigei liauptstadt Brasiliens zu begleiten.
So wie kuerzlich in Mailand, hat aueh unter uns die Permanente
Brasilia-Ausstellung grosses Interesse seitens des Publikums
hervorgerufen. Nach Angabe einer Rioer Tageszeitung wurde sie
in den ersten 3 Tagen von ungefaehr 2300 Personen besucht.
Waaehrend der folgenden Wochen hielt der starke Besucherzustrom
an. Der Praesident des New Yorker Museums fuer Moderne Kunst,
\\ ilihanm Burden, besucnte in Begieitung seiner Gattin, Mrs. E.
Russells und Frau Paulo Sampaios die Ausstellung und widmete
sich eingehend ilirer Besichtigung. Wie so viele andere Besucher,
waren auch Mr. und Mrs. Burden nun noch neugieriger, Brasilia
kennen zu lernen, denn, wie der Praesident des New Yorker
Modernen Museums sagte, "Wir wussten nicht, dass die Arbeiten
schon so weit fortgeschritten waren!". Als Gaeste des Praesidenten
der Novacap, Dr. Israel Pinheiro, und begleitet von der Direktorin
des Modernen Museums von Rio de Janeiro, Niomar Muniz Sodre,
besuchten Mr. und Mrs. Burden Brasilia und hielten sich dort
einen Tag und eine Nacht auf.
Das Studienzentrum Brasilia C.E.B. (Centro de Estudos de
Brasilia) -, welches scinen Sitz im Lokal der Permanenten
Ausstellung hat, entwickelt seine Taetigkeit in Verbindung mit demr
Aufbau der zukuenftigen Landeshauptstadt. Das C.E.B. vermittelt
Daten und Informationen neber Brasilia an auslaendische Interes-
senten und organisiert ein ausgedehntes Programmn von Vortraegen,
Publikationen und Meetings zur Diskussion der kuenstlerischen und
kulturellen Probleme im Zusammenhange mit dem zukuenftigeno
Sitz der brasilianisclien Regierung. Journalisten, Schriftsteller,
Kunstkritiker, Maler, Bildhauer und Architekten nehmen daran
teil und bringeni Anregungen zurn weiteren Ausbau des C.E.B.
und seiner Taetigkeit imi Interesse der brasilianischen Kunst und


Kultur. Es ist geplant, mit der Zeit Persoenlichkeiten von Weltruf
zu der grossen Diskiussion, die ein solch gigantisches Unternehmen
erfordert, einzuladen.
Die grosse Zahl aer Gaeste, die zur Eroeffnung der Permanenten
Ausstellung und des Brasilia-Studienzentrums erschiener waren,
beweist das Interesse und die Unterstuetzung, die der Aufbau der
neuen Hauptstadt in der Oeffentlichkeit getunden hat.
Die Permanente Brasilia-Ausstellung, die in den geraeumigen
Saelen im Erdgeschoss des Unterrichtsministeriums auf der
"Esplanada do Castelo" untergebracht ist, enthaelt folgendes
Material: Modelle der hauptsaechlichsten im Bau befindlichen
\VerKe, wie heiaenzpalast, s.ongressnaus, Wohneinheiten; Fotos
und Skizzen (von Architekten 0. Niemeyer) dieser Projekte von
verschiedenen Gesichtswinkeln aus; Fotografien der allgemeinen
Arbeiten in ihrem jetzigen Stand, einschliesslich Strassenbau,
Pilasterung, etc.; statistische Diagramme ueber den Fortschritt der
Arbeiten, die demnaechst in Angriff zu nehmenden Bauten und
deren Entwicklung; Modelle von Gemaelden und Wandmalercien,
die beruehmten Kuenstlern wie Portinari, Saldanha, Di Cavalcanti,
Mary Vieira und anderen in Auftrag gegeben wurden; Muster von
Baumaterialien aus der Umgegend von Brasilia.
Das charakteristischeste Kennzeichen der Permanenten Brasilia-
Ausstellung ist ibre staendige Emeuerung, die es moeglich macht,
den Aufbau der Stadt zu verfolgen, die Brasiliens Hauptstadt sein
wird. Die "stands" der Ausstellung wurden von Artur Licio Pontual
organisiert.


DAS MUSEUM FUER MODERNE KUNST IN RIO DE JANEIRO

Am 27. January wurde das neue Gebaeude des Museums fuer
Moderne Kunst am Gelaende der Avenida Beira-Mar feierlich
eingeweiht. Der moderne Bau, ein Projekt des Architckten Affonso
Eduardo Reidy, ist noch nicht abgeschlossen. Aber diese Instal-
lierung im bereits vollendeten Teil des Gebaeudes entspricht so
recht der Natur des "Museu de Arte Moderna" (M.A.M.), das
sich in den 10 Jahren seiner Existenz durch besondere Dynamik
und Tatkraft ausgezeichnet hat. In diesem Geist wurde die neue
Behausung des M.A.M. mit einer permanenten Ausstellung seines
Bestandes eingeweiht und gleichzeitig zwei besondere Saele
eroeffnet, von denen einer dem englischen Maler Ben Nicholson
und der andere zeitgenoessischen englischen Bildhauern gewidmet
ist.
Fuer das laufende Jahr wurde bereits ein intensive Programm
angekuendigt, das mit dem Besuch Friedlaenders, des weltberuehm-
ten Meisters der Gravure, seinen Anfang nimmt; bei dieser
Gelegenheit werden die Gravure-Kurse des M.A.M. in Latein-
Amerikas modernstem Atelier dieser Art. eroeffnct werden. Von
grosser Bedeutung ist auch das Projekt der Rueckblickausstellungen
brasilianischer Meister. Es sei noch die Filmothek des M.A.M.
erwaehnt und das Programm seiner Filmabteilung, das Festwochen
des amerikanischen, englischen, franzoesischen und italienischen
Filmes vorsieht.-Andere Ausstellungen und kulturelle Darbietungen
werden folgen, im selben Geiste der die 10 Jahre fruchtbarer
Taetigkeit des M.A.M. kennzeichnet.
Es scheint unglaublich, dass diese wunderbare Institution noch
so neu ist. Sie entstand 1948, auf Initiative einer von Raymundo
de Castro Maya angefuehrten Gruppe junger Enthusiasten, die sich
mit einem halben Duzend Kunstwer en in den vom Baron de
Saavedra ilmen ueberlassenen Saelen des Banco Boavista einrich-
teten. Aber es wird niemandem Unrecht getan, vielmehr nur ein
Akt der Gerechtigkeit geuebt wenn wir feststellen, dass die
eigentliche Existenz des M.A.M. 1951 beginnt. In diesem Jahre
wurde auf Anregung der frueheren Direktion seine Leitung Frau
Niomar Moniz Sodre anvertraut, die sich vom ersten Augenblick
an mit Leib und Seele der Aufgabe widmete, aus dem Museum
mehr als den Traum einer Handvoll von Idealisten zu machen:
In der Tat war Frau Niomar all diese Jahre die Seele des M.A.M.,
dem sie das Beste ihrer unleugbaren Faehigkeiten gab. In
Brasilien, USA, Europa wo immer sie auch sein mag, immer
gilt ihr Sinnen und Trachten dem M.A.M. als dessen ehrlichste
und unermuedlichste Vorkaempferin. Sie war es auch, die die
N\erlegung des M.A.IM. ins ijnterrichtsminiisterium durchsetzte,
wo es bis zu Beginn dieses Jahres untergebracht war. Sie war es,
die Tag und Nacht intensive daran arbeitete, diesen provisorischen
Sitz in einen der Anziehungspunkte des kulturellen Lebens der
Stadt zu verwandeln. So kamn es, dass Dona Niomar vor dem Volk,
den fuehrenden Klassen Brasiliens und im Ausland das Ideal des
M.A.M. personifiziert.
Heute bedeutet das grosszuegigerweise der Stadt Rio geschenkte
Museum fuer Moderne Kunst einen Schatz, dessen Wert nicht
errechnet werden kann, da er von Tag zu Tag waechst.


































































separate m6dulo no. 9




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