Please use this identifier to cite or link to this item: http://repositorio.unicamp.br/jspui/handle/REPOSIP/349616
Type: Artigo
Title: A extinta pureza: a igreja da Pampulha e as capelas de Ouro Preto (Brasil)
Title Alternative: The extinct purity: The church of Pampulha and the chapels of Ouro Preto (Brazil)
Author: Benoit, Alexandre
Frajndlich, Rafael Urano
Abstract: A Igreja da Pampulha, feita em Belo Horizonte em 1943, por Oscar Niemeyer, e reconhecida como marco das vanguardas arquitetonicas brasileiras. Seu programa religioso colocava‑se como desafio para o arquiteto, pelo primado de simbolos e significados que remontavam ao passado colonial das catedrais e capelas valorizadas pelos intelectuais modernistas, como Drummond de Andrade, Lucio Costa, Mario de Andrade. Entre os anos 1920 e 1930, e intenso o debate intelectual acerca da heranca do barroco mineiro como portadora de uma forca de atualizacao do presente que sintetizaria modernidade e identidade nacional. As capelas e arquiteturas de autoria nao definida sao contrapostas as monumentais criacoes de artifices notaveis, como Aleijadinho. Niemeyer nao era alheio a este debate sobre como o passado colonial seria referenciado nas obras de vanguarda, preferindo na sua igreja construir correspondencias tipologicas com as capelas de Ouro Preto e arredores construidas no seculo XVIII, problematizando, na arquitetura, questoes da ordem do dia dos modernistas, no que tange a relacao com o passado no presente
metadata.dc.description.abstractalternative: The Church of Pampulha in Belo Horizonte, designed by Oscar Niemeyer, is renowned as a landmark in the Brazilian Avant‑Garde Architecture. The religious building was a challenge for the architect, due to its symbolic requirements and significations that dated back to the Brazilian colonial past, with its cathedrals and chapels — all of which were highly appreciated by Modernist Intellectuals as Drummond de Andrade, Lucio Costa, Mário de Andrade. During the 1920’s and 1930’s, Brazilian modernists intensively debated the heritage of Baroque tradition of the state of Minas Gerais as a powerful totem of the simultaneity of values of the past and present, synthetizing modernity with a national identity. In those discussions, an opposition was established between anonymous works of architecture and those build by notable artisans, such as Aleijadinho. Niemeyer wasn’t ignorant of the discussions on how the Colonial past should be referred to in Avant‑Garde projects and chose to build the Church at Pampulha with a myriad of typological correspondences with Ouro Preto’s early chapels and its surroundings from the 18th century, using architecture to raise important questions for the Brazilian modernists regarding its connections with the past
Subject: Arquitetura moderna
Niemeyer, Oscar
Country: Brasil
Editor: Pontificia Universidade Catolica de Campinas - Faculdade de Arquitectura e Urbanismo
Rights: Aberto
Identifier DOI: 10.24220/2318-0919v16n2a4129
Address: http://periodicos.puc-campinas.edu.br/seer/index.php/oculum/article/view/4129
Date Issue: 2019
Appears in Collections:FEC - Artigos e Outros Documentos

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