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dc.contributor.CRUESPUNIVERSIDADE ESTADUAL DE CAMPINASpt_BR
dc.contributor.authorunicampFrajndlich, Rafael Augusto Urano de Carvalho-
dc.typeArtigopt_BR
dc.titleA extinta pureza: a igreja da Pampulha e as capelas de Ouro Preto (Brasil)pt_BR
dc.title.alternativeThe extinct purity: The church of Pampulha and the chapels of Ouro Preto (Brazil)pt_BR
dc.contributor.authorBenoit, Alexandre-
dc.contributor.authorFrajndlich, Rafael Urano-
dc.subjectArquitetura modernapt_BR
dc.subjectNiemeyer, Oscarpt_BR
dc.subject.otherlanguageArchitecture, Modernpt_BR
dc.subject.otherlanguageNiemeyer, Oscarpt_BR
dc.description.abstractA 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 presentept_BR
dc.relation.ispartofOculum Ensaios: revista de arquitetura e urbanismopt_BR
dc.publisher.cityCampinas, SPpt_BR
dc.publisher.countryBrasilpt_BR
dc.publisherPontificia Universidade Catolica de Campinas - Faculdade de Arquitectura e Urbanismopt_BR
dc.date.issued2019-
dc.date.monthofcirculationMaypt_BR
dc.language.isoporpt_BR
dc.description.issuenumber16pt_BR
dc.description.issuesupplement2pt_BR
dc.description.firstpage291pt_BR
dc.description.lastpage310pt_BR
dc.rightsAbertopt_BR
dc.identifier.issn1519-7727pt_BR
dc.identifier.eissn2318-0919pt_BR
dc.identifier.doi10.24220/2318-0919v16n2a4129pt_BR
dc.identifier.urlhttp://periodicos.puc-campinas.edu.br/seer/index.php/oculum/article/view/4129pt_BR
dc.date.available2020-09-18T17:27:13Z-
dc.date.accessioned2020-09-18T17:27:13Z-
dc.description.provenanceSubmitted by Cintia Oliveira de Moura (cintiaom@unicamp.br) on 2020-09-18T17:27:13Z No. of bitstreams: 0. Added 1 bitstream(s) on 2021-01-11T14:38:18Z : No. of bitstreams: 1 102422023180919v16n2a4129.pdf: 3007992 bytes, checksum: b0d26dde2333ff1557a8e84a7a021d5a (MD5)en
dc.description.provenanceMade available in DSpace on 2020-09-18T17:27:13Z (GMT). No. of bitstreams: 0 Previous issue date: 2019en
dc.identifier.urihttp://repositorio.unicamp.br/jspui/handle/REPOSIP/349616-
dc.contributor.departmentDepartamento de Arquitetura e Construçãopt_BR
dc.contributor.unidadeFaculdade de Engenharia Civil, Arquitetura e Urbanismopt_BR
dc.description.abstractalternativeThe 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 pastpt_BR
dc.subject.keywordIgreja da Pampulhapt_BR
dc.identifier.source102422023180919v16n2a4129pt_BR
dc.creator.orcid0000-0003-2378-5069pt_BR
dc.type.formArtigopt_BR
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