THE IMPACT OF BRAZILIAN AESTHETIC IN PORTUGUESE AND AFRICAN MODERN ARCHITECTURE

ITS ROLE IN THE DISSEMINATION OF THE MODERN MOVEMENT IN ANGOLA AND MOZAMBIQUE

Mariana de Almeida Rebelo Fernandes

ABSTRACT

In the First National Congress of Architecture held

in 1948, after the Allied victory in the Second World

War, the direction of Portuguese architecture was

discussed, proceeding to an architectural

retrospective. Although contrary to the Salazar

regime, the internationalist ideas were the more

acute, and this event spurred a generation that

believed in progress, and claimed the Modern

Movement. Justified by the lack of construction

demand in Portugal or by political reasons, some

portuguese architects moved to Angola and

Mozambique designing there a considerable

number of quality buildings with a clear sense of

modernity.

Modern architecture in the ex-Portuguese colonies

has been studied during the past decade, and

modern Brazilian architecture has been taken as an

inspiration. However, if on the one hand this

influence is obvious in the African case, on the other

hand it has also been pointed out that it also exists

in the portuguese modern production. If somehow

this influence seems obvious in the colonies, mainly

justified by its tropical climate, in Portugal this

relationship appears more diffuse and less evident.

Therefore, the present study intends to analyze the

three productions - Brazilian , Portuguese and

African - and understand what kind of connexion

exists between them. It seeks to determine not only

what links have been established and what were its

influences, but also how they were expressed and

with what justification they were materialized.

For this we proceeded to a systematic analysis of

some buildings for each of the cases analyzed

according to the context in which the modern

movement emerged. The essence of modern

Brazilian architecture was studied, specially the ways

in which it distinguished itself from the International

Style and inspired Portugal and the ex-colonies.

We concluded that the climate was crucial in the

likeness of the African proposals, and in Portugal, in

most cases, Brazilians elements of shading were not

applied because of their original functional reasons,

gaining new justifications and often used as a formal

element of buildings’ plastic enrichment.

INTRODUCTION In the past decade, a series of studies have been

developed about the modern architecture produced

during the period of Estado Novo (1933-1954) in the

old portuguese colonies, mainly Angola and

Mozambique, more specifically since the end of the

1940’s. Before April 25th 1974, political persecution

dominated the authoritarian oppressive regime,

which didn’t permit portuguese architects to take

action, particularly in what concerned public

ordered works. In the reported publications that

study the Portuguese modern architecture, the

Brazilian architecture is generally taken as an

inspiration. If that analysis is carried out in an explicit

way, regarding the production of the ultramarine

provinces, it is verified that in case of Portugal, that

relation is mentioned in a less evident way, although

during the 50’s of the twentieth century, some

architects deeply marked by the Congress of 48,

have indeed projected some buildings with an

urgent modernity and Brazilian aestheticism.

However, it was in the colonies that the buildings

were effectively made from the higher to the lower

scale, where the principles of the Modern

Movement are applied with an usual reference to

the elements of the brazilian modernity. Unlike the

architects that worked in Portugal, the portuguese

architecs that settled down in Africa had the

opportunity to work in an almost virgin territory, in

which the brazilian modern movement was prepared

to give an answer.

It’s the aim of the present study to show, clarify and

identify how far the brazilian modern architecture

influenced the modern production both in Portugal

and in the colonies, namely in Angola and

Mozambique, essential in what differs from the

Modern Movement in Europe or ultimately the

International Style.

At a first stage, it’s fundamental to understand the

context and the conditions that approached Brazil

with the Modern Movement and at the same time

how it get rid of some of its dogmas, by adopting a

very peculiar direction, with shapes and specifically

brazilian formulations breaking with the

homogeneity roused by the International

Congresses of Modern Architecture – CIAM. This

way, Brazil proposed new ways of being modern

and in some aspects even more modern than the

European Modern Movement itself, while adopting

and strengthening the use of reinforced concrete till

the last consequences and recovering indispensable

elements from the traditional architecture, so as to

create a local and simultaneously modern

architecture.

It is importante to understand the true dimensiono f

this influence and that really passed from Brazil to

Portugal and the old colonies. Above all, it’s

importante to know if those passed elements

performed their original functions in other

territories. Trying to examine this work more

thoroughly, it also aims to know which was the

impact that Lúcio Costa’s thought had in Portugal

and consequently or not in Angola and

Mozambique.

From the observation and analytical interpretation

of the selected building, this work aims to take

conclusions and set ideas about the meaning of

these influences in a certain period that in case of

Brazil ranges from the 30’s to the 60’s (with Brazilia),

while in Portugal and Africa form the Congress of

48, in which there appeared a generation that truly

believed in modernity, the introduction of new

materials as well as the Corbusian vision as a way to

construct the city and do architecture.

In Portugal, the 50’s was the period in which this

brazilian inspiration was more evident and

considering Africa, we will take as a reference the

colonies Independence in 1975.

In short, as a starting point, taking the publications

in Portugal and in the world, from Brazil Builds to

specific magazines, along with discussions and

conferences given in Portugal and in the colonies

and after having understood the brazilian scenario

that caused the adoption of the Modern Movement,

it’s all the more important to understand which are

the similarities and differences in the modern

production both in Portugal and in Angola and

Mozambique, as a way to account for the disparity

of proposalds found in one and another place, when

after all, they were both performed by portuguese

architects with the same formation.

Actually, once analysed the works presented in the

bibliographical references, it’s quite understandable

why there is the need not only to clarify the extent

of this influence and understand the way it was

done, but also know quite effectively what can be

assumed as a source of knowledge and application

of the brazilian modern architecture. Although that

influence is referred in many works and articles, it’s

our purpose so as to take some deductions and

conclusions duly based on a systematic study. The

main question here emphasized is: “who influenced

what, when and why?”.

To reach the purposed put forward for

consideration of this paper, it was considered the

need to study, analyse and interpret the Brazilian

Modern Architecture, not only from information

taken from books and periodical publications, but

also from the selection and analysis of some studies

which were assumed to be a considerable

illustration of Carioca’s School. Once analysed the

chosen brazilian buildings and the context in which

Modern Architecture in Brazil appeared, a

comparative analysis of each one went on to the

able to extract what was essential and what defined

that architecture. Afterwards, the same

methodology was used in relation to Portugal and

Africa. The portuguese and african studies are also

organized chronologically and for each one a careful

and comparative analysis was done, which

permitted to know what could have been influenced

or inspired by the Brazilian modernity. And taking

the comparative analysis of the studies into account,

be able to understand those relationships in a

clearer way.

On the whole, the present work is organised in three

main subjects: Brazil, Portugal and Africa, and for

each one specific studies are introduced in order to

accomplish the goals that were here proposed.

THE BRAZILIAN MODERN ARCHITECTURE It appeared in Brazil in the 20’s in the way of

manifestations totally influenced by the European

Modern Movement and by the Corbusian premises.

The Brazilian architecture soon kept away from it. If

in the beginning, mainly in the “Paulista”

production, the modern architecture also tried to

keep a distance from the standards of the past by

breaking down with traditions and defending

progress as well as the use of materials from

industrialization, in Carioca’s city it was rapidly

opted for rethinking the value of tradition, while

looking, for instance, at the techniques and the

constructing materials of the paste, reinterpreting

them and so refusing the gratuitous abandon of the

knowledge that had once been acquires. The

modern architecture was applied in Brazil with the

local key of not abandoning the past architectures

and techniques improved throughout the history, as

a way not to lose the cultural past. Therefore, as it

had already been mentioned before, it was claimed

that the architects from the past had already solved

certain specific problems of construction and those

solutions shouldn’t be ignored, but instead, used

and reinterpreted by the light of contemporaneity.

The result could never be confusable with past

architectures – like it was the neo-colonial style – in

spite of withdrawing some foundations which are

the result of a “spiritual connection with the past”

(Bruand, 1981).

Taking the European vanguards into account and as

a reference, the Brazilian Modern Architecture

shares, by direct or indirect influence Le Corbusier’s

Five points of architecture, being in some works, like

it is the case of Education and Health Ministry, all

the points strictly respected. And they are: The free

designing of the ground plan, the free design of the

façade – resulted from the independent structure –,

the use of pilotis and roof gardens and the

horizontal windows, made possible by the free

façade. The urgent rationalism in almost all the work

is another feature that was absorbed from the

European modernity, but it was precisely the

premise “form follows function” that was

questioned by one of the main intervenient in the

Brazilian architecture: Oscar Niemeyer.

The propagandistic goal of these works in Brazilian

territory, where architecture and urbanism were one

of the elected ways of the rulers’ personal

promotion – particularly caused by political interests

– required one of the characteristics of the great

majority of the modern Brazilian works:

monumentality. The need to be noticed compelle

the works to be shown, which was the evidence of

the power in question.

Although the Brazilian architecture shared some

premises with the European modern movement,

such as the need to provide housing for everybody

and the importance of the function in the

conception of the architectonic work, it also

appeared with new concerns that decisively make

this architecture diverge from the one of the Old

Continent.

The formal worries will certainly be the easiest ones

to point out, as the Brazilian architecture is

endowed not only with a great simplicity provided

by the clarity of the drawing and the purity of the

forms but also by a great lightness, audacity and

grace (Bruand, 1981). Oscar Niemeyer’s creative

spirit enabled him to be the best creator regarding

the forms of this new architecture, standing out by

the use of abstract forms, demystifying the rigidity

of the Modern Movement – such freedom was

chiefly provided by the plastic potentialities of

concrete – but without disregarding their functional

qualities.

Also in the decoration area, Brazilian Modern

Architecture opposed itself to the severe austerity of

the International Style, while promoting the union of

all art in the final work. Besides the pictorial designs

on the walls and glazed tiles, sculptures, tapestries,

landscape decorations, we find some elements that

distinguish themselves from all the others: the

elements of insolation control are very often the

most important in the façades, giving them a very

peculiar and remarkable dynamics, whether by the

use of Brise-soleil – elements invented by Le

Corbusier for many of his projects, but only applied

in Education and Health Ministry in Rio de Janeiro –

consequently the result of the modern movement –

and adapted a lot in the tropical architecture, or by

the use of cobogós – the walls made up by empty

elements with diverse forms and designs that allow

the entrance of natural lightening and ventilation,

quite common in the colonial architecture and now

reinterpreted, reinvented and stylised. The use of

different materials, colours, textures, lightning

effects also confer unique characteristics to the

Brazilian Modern Architecture, namely an

exceptional lightening/shade effect in inner spaces.

It is also because of its deep symbolism that this

architecture distinguishes itself from the others,

being the reconciliation with the past, one of the

greatest responsible for that difference, giving

individuality to that architecture. These reflexions

led to a new production, which resulted from a

reflection of the value of tradition integrated in the

presuppositions of modern architecture, “proved

(…) the recognition of the legitimacy of the plastic

intention in the functional concept of modern

architecture” (Costa, 1954). “Although the first

modern impulse has been imported, Brazil

immediately found its own way”, underlines

Goodwin (1943) in Brazil Builds, being Brazil a

country with very peculiar characteristics ranging

from its topography to its costums so deeply

ingrained. Therefore, it were those specificnesses

that distinguished the Brazilian Modern Architecture

from all others. In spite of that, the lauched

Cosbusian premises to divulge the modern

movement are present in the Brazilian production,

namely the five aspects of that new architecture.

According to Bruand (1981), the use of pilotis can

easily be justified in Rio, since besides allowing

ventilation, they allow the integration between inner

and outer spaces, eholly melting architecture and

site: fulfilling one of the most important Brazilian

ambitions.

REPERCUSSIONS -- THE PORTUGUESE SCENARIO

Only in 1948 in the first National Congress of

Architecture promoted by the Architects’ National

Union (SNA) – when the Allies had already won the

WWII – were discussed different subjects from the

observed ones: the modern architecture

reappeared, without warning, in the midst if the new

generations, and it was claimed the right to creative

freedom in architecture, as the end of the Second

World War had renewed the hope of those who

believed and struggled for progress (Fernandez,

1988). Unlike what was expected, it was acclaimed

the Modern Movement, read the Athens Charter

and it was mainly criticized the path that had been

followed by the Portuguese architecture, going

according to the taste imposed by the regime. Also

such architects as Pardal Monteiro and Cottinelli

Telmo, with a historical connection with the once

instituted power, showed some doubts in relation to

the architecture that was being done throughout the

last years in Portugal and marked that period as an

opportunity to correct the misconception produced

around architecture. It was also pointed out the

decadence of the teaching methods of architecture

in Portugal and it was defended the new tipologies,

new forms and new materials. And this way there

appeared a clear beginning of a turning point in

architecture, although in 39 Viana de Lima had

already adoptec a Corbusian aestheticism in Casa

Honório de Lima, in Oporto. The end of the 40’s is

then marked by this congress and the conclusions

taken from it. AT the same time there was an

aggressive intention of the regime to attack these

new movements, by intervening obstinately against

these offences, while avoiding the installation of

internationalization at any cost. This way the 50’s

would be the time to “[give] attention to the

interrupted modern project” (Tostões, 1997),

already created in the 40’s such groups as ICAT

(cultural initiatives of arts and Technique) in Lisbon

and ODAM (organization of the modern Architects)

in Oporto. There was the intention to “divulge the

principles of the modern architecture, form a

professional awareness, create an understanding

between architects and plastic artists, oppose the

practised amateurism, in short, value the individual

and the Portuguese society” (França, 1974). In

Lisbon, apart the union, the same issues were

discussed, which ended up being exposed in the

Congress. Before this recent opening to the

international situation, and no longer “proudly

alone”, there came to Portugal indications about

the Modern Movement in Architecture that

proposed itself to help the rebuilding of a

devastated Europe by the effects of the war, while

devising simultaneously new guidelines that

revolutionized what had been practised so far. In

fact, as we’ll see, in addition to the works done in

Portugal, which are the immediate result of the

Corbusian teachings, the Brazilian Modern

Architecture, principally due to its formal freedom

and and peculiar interpretation done to the

International Style, soon called the young architects’

attention and it was implanted in Architecture

schools submitting this new production in Portugal.

Teotónio Pereira addressed himself to Niemeyer

“we see with brothers’ proud the irresistible and

triumphal advance of your renewing movement with

more and more numerous and perfect works,

creating a well authentic architecture – and

therefore an original one – linked to the People and

to the site.

At this stage, after being understood how Brazilian

Modern Architecture entered the imaginary of the

Portuguese architects from the First Congress, we

want to understand how far the originality of such

production influenced what was being done in

Portugal, which were the elements that ended up

being inspired in those works, the reason for the

adoption of certain elements, and if their adoption

was the direct result of its original application in

tropical territory or not. Brazil Builds already showed

the Portuguese architects the way to be taken. The

survey wanted to perform the same function that

Brazil Builds did in Brazil. Nevertheless, it was now

carried out by the hands of the creators of modern

architecture, unlike what happened in Brazil.

Brazilian Modern Architecture constitutes in itself

the examination of the international style and in

Portugal it was the survey that let to the revision of

the modern and to the end of the uncritical import

of international models. Brazil opened up a priori

the possibility to adjust modernization with

tradition, as a commitment, which constituted the

ultimate purpose of the Portuguese architects.

-- THE AFRICAN SCENARIO It were the new architects deeply afflected by the

discussions and the results os de First Congress

(1948) that participated in the modernization of

Angola and Mozambique. They were generally

linked to the fight against the dictatorship that

believed in modernization an a vehicle to progress

and democracy.

From the 50’s onwards, the ultramarine provinces

suffered considerable and numerous urban and

architectonic interventions that not only tried to

keep up with the urban and population boom but

also wanted to take advantage of the economical

context of that time. The colonial wars broke out in

1961 and the volume of constructions increased.

This urban growth lasted until the end of the

Portuguese Occupation in 1974. The architectonic

productions in Angola and Mozambique, despite

being different from each other, both clearly reflect

the influence of Brazil. The metropolis presented

endowed the colonies with equipment and facilities

like schools, markets, hospitals, cinemas, theatres,

churches, hotels among others.

The Portuguese architects that went to Angola and

Mozambique took with them the result of the

Congress and the images of modernity circulating

either in periodical and not periodical publications,

particularly quite acute in Brazil Builds that came to

be used in architectural schools and whose

fascination resulted in some works dispersed in

Portugal and Africa, an excellent place to be

proliferated. Like it is stress by Cortez “the discovery

of the Brazilian modern architecture together with

the vocabulary restrictions in Portugal, made of the

African premises a fertile area for free expression of

their works.

This Tropical architecture easily penetrated into the

vocabulary of African architecture, mainly due to the

similar climate. Even though it is also important to

refer the plastic characteristics of Brazilian

architecture, and its link to native culture, much

appreciated in the ex-colonies. In fact, the high

levels of humidity demanded that all the

constructions included passive methods to increase

as far as possible environmental comfort in the

interior, by assuring the shade and crossed

ventilation. Therefore, it became appropriate in

these territories the application of some

architectural elements like brise-soleil and cobogós,

very common in Brazil. These elements as well as

the total suppression of exterior walls permit, as well

as in Brazil, the close relation between inside and

outside.

The interest of Brazilian modern architecture in the

continent had already been discouraged while in

Africa it still influenced the new architecture. It was

indeed very assertive the presence of the Brazilian

modernity in the Portuguese colonies. The

architects that went over there to project their

innovative buildings were induced by utopia,

wishing to transform the society based on the

modern movement premises.

CONCLUSIONS The congress of 48 allowed to disseminate the

voices of some individuals that on the one hand

opposed an architecture considered Portuguese,

promoted by Salazar’s regime and on the other

hand, they believed in modern architecture like the

one who could be authentic, belonging to that time

and no other one. Through publications, expositions

and conferences, the Portuguese architects got in

touch with the modern architecture that was being

done in Brazil, through which they were introduced

to a modern but local architecture. If on one hand,

there was an immediate fascination by the

specificnesess of that architecture, with its

exuberant shapes, tropical gardens and elements of

climate adaptation like brise-soleil and cobogós,

which were so often imported to Portugal with

different applications from the original ones. In a

more detailed analysis it was the Brazilian modern

architecture that from its genesis gave an answer to

the questions posed by the generation of 48 and

the wish of an architecture, both modern and local.

In practical terms, in Portugal the elements that

represent the Brazilian modern architecture were

applied as “image”, so contributing to the

adornment of the façades and to the enrichment of

the architectonic lexicon. In the Mediterranean

climate, it found functional justifications quite

different from the original ones in Brazil. Usualy, by

dissimulating the less noble spaces of the buildings

(like service spaces). Seldem did it contribute to the

insolation in the interior, being so often oriented

towards cardinal points where there systems simply

didn’t function.

On the other hand, in the old ultramarine provinces

the climate similarity with Brazil enables the

application of these shade systems, which really

contributed to the constant air circulation in the

interior, so improving the housing conditions inside

the building. The need to shade and ventilate the

building found in the Brazilian aesthetic a functional

evidence, being them used as a literal or

reinterpreted way.