Abstract
The objective of this article is to present the scene which gave rise to the consolidation of the teaching of Architecture and Urbanism in Brazil in accordance with the precepts of Modern Architecture. Between 1930 and 1970 professional training and practice were intimately related to Brazilian political, social and economic contexts. This fact has led to the structuring of this article into three periods. In the first (1930-1945) the debates concerning the strengthening of the profession that took place. In the second (1945-1960) the courses disassociated themselves from the teaching of the Academies of Fine Arts and the Engineering Schools. In the third (1960–1970), despite the economic growth of the previous decade, the recognition of a Brazilian architecture and the consolidation of the system of teaching based on the precepts of Modern Architecture, Brazilian society saw itself turn into a dictatorial political regime. The years 1930 to 1970 were critical in strengthening Brazilian Modern Architecture, as well as being the decades that saw the launching of the basis of a teaching that echoes to the current day.

Keywords
Modern Movement, Modern architecture, Architectural education, Education of modern architecture, Brazilian modern architecture.

Issue 49
Year 2013
Pages 46-51
DOI: https://dx.doi.org/10.52200/49.A.98ZU8IP6

Abstract
The 60s were inaugurated with the Olympic Games, presenting the world with a new image of Rome: a city that was more modern, more efficient and definitively freed of the fascist period. The decade appeared (and not only in the Italian capital city) as a time of great political and cultural turmoil – and it was precisely the Faculty of Architecture in Rome that set one of the main stages for this struggle. The student movement began a process of profound questioning and transformation of the educational system.

Keywords
Modern Movement, Modern architecture, Architectural education, Education of modern architecture, Saverio Muratori, Ludovico Quaroni, Faculty of Architecture Sapienza University of Rome.

Issue 49
Year 2013
Pages 40-45
DOI: https://dx.doi.org/10.52200/49.A.I1FMRNNO

Abstract
Ludwig Hilberseimer’s role at defining trends in architectural education in the United States is a relevant one, and deserves special attention due to its rigorous method. This article aims to cast light at his teaching experience at IIT, where he promoted an integration of urban theory and political ideals. Understood as an act of cultural colonization, architectural education appears as a powerful tool to reshape the territory in the United States and the world, as part of an ongoing process of Modern postwar globalization.

Keywords
Modern Movement, Modern architecture, Architectural education, Education of modern architecture, Ludwig Hilberseimer, Illinois Institute of Technology, USA modern architecture.

Issue 49
Year 2013
Pages 34-39
DOI: https://dx.doi.org/10.52200/49.A.CB7PFB95

Abstract
8 September 1943: The day the Italian army surrendered to the Allies is a - perhaps the most - decisive milestone in Ernesto N. Rogers’ life. From that transformative moment on, the young Italian architect built an extensive, in–depth international dialogue that led him to be recognized as a master in other, even quite distant, cultural contexts. It was in this concurrence of public and private life, which was practically a coincidence for him, that the career he had established as a partner in the BBPR and as a leading figure in the second generation of Italian rationalists would open to far broader horizons, enriched by his exile in Switzerland, where he, a Jew, fled just a few days after that terrible date.

Keywords
Modern Movement, Modern architecture, Architectural education, Education of modern architecture, Ernesto Rogers, CIAM, BBPR, Italian rationalism.

Issue 49
Year 2013
Pages 28-33
DOI: https://dx.doi.org/10.52200/49.A.A0LJYG7X

Abstract
he phenomenon of the Russian Avant–garde architecture formed under the influence of the Moscow Higher School of Architecture and Art is today widely known by the name of VKHUTEMAS. This school is mentioned in the context of professional activity of the artists and architects who also worked in other institutes, but who had creative links. In the limelight is Nikolai Ladovsky, creator of the introductory course on architectural composition, lecturing along with many authoritative Moscow utilitarian architects, such as Alexander Kuznetsov, Vesnin brothers and others.

Keywords
Modern Movement, Modern architecture, Architectural education, Education of modern architecture, Russian avant–garde architecture, Moscow Higher School of Architecture and Art, VKHUTEMAS, Nikolai Ladovsky.

Issue 49
Year 2013
Pages 22-27
DOI: https://dx.doi.org/10.52200/49.A.HM02EMC3

Abstract
docomomo is the answer - what is the question?

Keywords
Modern Movement, Modern architecture, Architectural education, Education of modern architecture, Docomomo, Architecture and future, Conservation of modern architecture.

Issue 49
Year 2013
Pages 16-21
DOI: https://dx.doi.org/10.52200/49.A.BNG7ZI06

Abstract
In 1937, Walter Gropius wrote “Training the Architect” for his presentation as Chairman of the Department of Architecture of Harvard University. It reinvented his experience in the Bauhaus, between 1919 and 1928, and became the pedagogical program for the new Modern paradigm of an architectural education. At that moment, the Beaux–Arts system was being revaluated and the American schools of architecture intended to approach the university through a scientific and technological curriculum.

Keywords
Modern Movement, Modern architecture, Architectural education, Education of modern architecture, Walter Gropius, Bauhaus, “Training the Architect” manifesto, CIAM.

Issue 49
Year 2013
Pages 10-15
DOI: https://dx.doi.org/10.52200/49.A.DZZ54XNF

Abstract
An examination of the architectural value of the Japanese Embassy in Mexico, designed by Kenzo Tange, Pedro Ramírez Vázquez and Manuel Rosen Morrison, which is in danger of being demolished. The context of mid-century Mexican architecture is addressed in order to situate this work within its historic moment, thus confirming its importance. This building was the result of an intellectual encounter between one Japanese and two Mexican architects, who exchanged ideas, concepts and criteria, resulting in a building with an innovative formal design, due to the use of reinforced concrete, and the flexibility of its structural concept, which allows it to be adapted to different uses. This article is essentially based on the archive of the architect Manuel Rosen Morrison, held by the Archive of Mexican Architects at the National Autonomous University of Mexico’s Faculty of Architecture.

Keywords
Modern Movement, Modern architecture, Tropical architecture, Modern diaspora, Design with climate, Kenzo Tange, Japanese Embassy in Mexico.

Issue 63
Year 2020
Pages 62-69
DOI: https://dx.doi.org/10.52200/63.A.4X21D76S

Abstract
Parallel to the discourse of Tropical Architecture and the work of UK architects in the British colonial territories in the Middle East, Africa, and India after the WWII, climate adaptation designs or devices such as brise-soleil, perforated cement bricks, sun shading screens, courtyards, etc., started to emerge in modernist buildings in Asia. This article is a preliminary survey of these cases in Hong Kong and Macau since the 1950s. It discusses how tropicality was used in response to the post-war revisionism of Modern Movement that placed emphasis on local identity and culture.

Keywords
Modern Movement, Modern architecture, Tropical architecture, Modern diaspora, Design with climate, Hong Kong modern architecture, Macau modern architecture.

Issue 63
Year 2020
Pages 56-61
DOI: https://dx.doi.org/10.52200/63.A.9U06Q3RS

Abstract
Preis, who was a Viennese émigré and refugee architect with no early experience designing for tropical climates, went on to become one of the most prolific mid-century regionalist and modernist Hawai‘i designers. Although he is best known for his award-winning design for the USS Arizona Memorial (1962) - one of the ships infamously sunk in the Japanese attack on Pearl Harbor, Pries’s earlier institutional and residential commissions are arguably his most compelling. His Viennese roots directly influenced Pries’s approach to design in Hawai‘i. By engaging numerous precedents from Vienna, he eventually forged a novel idiom for Hawai‘i domestic design. This article will examine the interiors of two of Preis’s more than 100 single-family houses – the Scudder Residence (now the Scudder-Gillmar Residence) (1939-1940) and the Dr. Edward and Elsie Lau Residence (1951) – in order to highlight some of the ways in which Preis transported Viennese modern design ideas of the first three decades of the 20th century some 7,616 miles from Austria into the middle of the Pacific Ocean. His interior designs for these houses evidence strong relationships with the ideas of earlier Viennese modernists about spatial planning, the aesthetic uses of materials, furnishings, and color. Perhaps more than any other influence, Preis’s Vienna experience culminated in modern architecture that was as sensorially pleasurable as Hawai‘i itself.

Keywords
Modern Movement, Modern architecture, Tropical architecture, Modern diaspora, Design with climate, Alfreid Preis, Hawaiian modern architecture.

Issue 63
Year 2020
Pages 48-55
DOI: https://dx.doi.org/10.52200/63.A.1WCECYVH