Abstract
The Mexican collection at Lund’s Museum of Sketches in is an unusual and valuable collection both from a Mexican and from an international perspective: the collection was built by Gunnar Bråhammar in the late 1960s, and counts works by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco and Juan O’Gorman but also Francisco Eppens, Rufino Tamayo, González Camarena, Raul Angiano, Leopoldo Méndez and Desiderio Xochitiotzin. The article discusses especially “the New Deal” by Rivera, “the Image of Mexico” at the Museo Nacional de Antropología e Historia in Mexico City by Morado Chavez, and “El Pájaro Amarillo” by Goertiz, and the great stone mosaic at the Central Library of the National Autonomous University of Mexico by O’Gorman.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Lund Museum of Sketches, Mexican modern public art.

Issue 42
Year 2010
Pages 34-43
DOI: https://dx.doi.org/10.52200/42.A.2J2WHVGO

Abstract
University City is one of the best examples of twentieth-century Mexican architecture. It has been declared a World Heritage Site by Unesco for it managed to synthesize tradition and avant-garde to create a place where the articulating landscape design is able to assign emptiness a compositional value; while the harmonious layout of the buildings and their careful construction merge with murals that play an important role in forming their identity. These grand scale murals (1952-1956) were capable of communicating the values and spirit of the Mexican revolutionary movement, such as progress and social reform, while also teaching people about the country’s history and its social struggle. The result is a very realistic, didactic, and even narrative art which appeals to the masses.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Mexico University City, Modern murals, Mexican modern architecture.

Issue 42
Year 2010
Pages 24-33
DOI: https://dx.doi.org/10.52200/42.A.GBLRP8HZ

Abstract
From the onset of contemporary architecture, the controversial presence of visual arts manifested itself as one of the approaches in its development. In the mid-twentieth century the use of the term “plastic integration” started to be widespread, exposing the confrontation between diverse stances and positions. Three of the pioneers in the forefront of this field were Carlos Obregón Santacilia, with his building for the Secretaría de Salubridad (1929), Mario Pani, with the Hotel Reforma (1936), and Enrique Yáñez, with the Sindicato Mexicano de Electricistas (1936-1940). The movement, headed by the leading architects of the time in collaboration with important artists, searched for an intersection between the visual arts and architecture.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Plastic integration, Carlos Obregón Santacilia, Mario Pani, Enrique Yáñez, Mexican modern architecture.

Issue 42
Year 2010
Pages 14-23
DOI: https://dx.doi.org/10.52200/42.A.NBPEB885

Abstract
The concept of “synthesis of the arts” became, in the 1940s, a leading principle in the search for renewing and improving modern architecture. Integration with painting and sculpture sought at bringing closer architecture and the people. But many dilemmas stood on the way: from the collaboration processes and the unity of the artistic experience, to “art for art’s sake” predominance or its social content. In the university cities of Mexico and Caracas as well as Burle Marx’s landscapes, the concept of integration reached wider scales. But it found its crisis in the extension to urban planning and the city - which had been, paradoxically, its ultimate target.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Synthesis of the arts, Integration of the arts, Total work of art.

Issue 42
Year 2010
Pages 6-13
DOI: https://dx.doi.org/10.52200/42.A.CYZLHO7G

Abstract
This article explores the headquarters of the Ministry of Foreign Affairs of Brazil, the Itamaraty Palace which is one of the most important buildings designed by Oscar Niemeyer in Brasilia. Besides the constructive complexity, in this project the architect organizes and ranks several spatial correlations, making the palace terrace - the varanda - its great architectural surprise.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Oscar Niemeyer, Itamaraty Palace.

Issue 43
Year 2010
Pages 66-69
DOI: https://dx.doi.org/10.52200/43.A.D7ROBAKF

Abstract
The Palace of Congress in Brasilia, designed by Oscar Niemeyer in 1958, played an effective role in defining its urban context. Lúcio Costa`s original competition sketches show one tower, with a domed horizontal building. Niemeyer conciliated the different levels of the frontal Esplanade and of the lower Plaza behind, rotating it, and placing two domes and two towers instead of one, representing the two legislative institutions housed. The building presence amidst a vast green area became the main symbol of Brasilia. In the last 50 years, however, its surroundings gave place to several new institutional buildings designed by Niemeyer himself.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, National Congress Palace, Oscar Niemeyer, Three Powers Plaza, Lúcio Costa.

Issue 43
Year 2010
Pages 60-65
DOI: https://dx.doi.org/10.52200/43.A.4FXZMOEC

Abstract
This article describes the highly successful restoration of Alvorada Palace completed in 2005 by Sergio Valle Brasileiro. After situating the importance of the Alvorada within Niemeyer’s overall oeuvre and describing the original design, the dilapidated state of the building at the turn of the 21st century is described. The details of the restoration, including meetings with Oscar Niemeyer about specific design decisions and consultation with IPHAN, and the challenge of sourcing new materials to match the original, such as jacaranda - now protected by IBAMA - are also studied. The Alvorada serves as an example for the restoration of other Modernist buildings in Brazil.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Alvorada Palace, Oscar Niemeyer, Conservation of modern architecture, Restoration.

Issue 43
Year 2010
Pages 56-59
DOI: https://dx.doi.org/10.52200/43.A.SY8TKPXX

Abstract
This essay aims to show Athos Bulcão’s artworks integrated into architecture in Brasilia, his career and partnership and the significance of his work as a precious legacy for the city. The artwork of Athos Bulcão not only reveals beauty and colors but an architectural identity that reflects a successful partnership between modern architecture and fine arts in Brazil. Brasilia is the high mark of modern movement where Athos Bulcão became a unique artist with the skill to amalgamate his art into architecture.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Athos Bulcão, Plastic arts and architecture.

Issue 43
Year 2010
Pages 52-55
DOI: https://dx.doi.org/10.52200/43.A.Z15N6G7E

Abstract
Surprisingly, Brasilia has a major assortment of foreign architecture, due to the diplomatic complexes it houses in the so-called South and North Embassy Sectors. From an urban point of view, such sectors were envisioned as a great international fair of buildings by renowned professionals. These buildings display a variety of solutions, in which it is always possible to distinguish typical features of the country of origin. In many of them the intention to reflect the modernity of Brasilia prevails; in others, the main objective was to enhance the country’s traditional architecture; and finally there are those in which both alternatives have been harmonized.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Modern diplomatic complexes.

Issue 43
Year 2010
Pages 48-51
DOI: https://dx.doi.org/10.52200/43.A.2MSEWSYB

Abstract
The Pilot Plan of the new Brazilian Federal Capital, by Lúcio Costa, was selected in a public competition held in 1957. The city was inaugurated barely three years later by President Juscelino Kubitschek, in April 1960, when the official creation of the University of Brasilia became a reality. Preparing to celebrate fifty years of existence, the University campus probably represents the most accomplished set of Brutalist architecture in the country and an excellent sample of the inventive resources of Brazilian architects. A functionalist city inside another. They are distinct from each other, but both dignified and worthy of documentation and preservation actions.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, University of Brasilia Campus, Oscar Niemeyer, João Filgueira Lima, Brutalism.

Issue 43
Year 2010
Pages 44-47
DOI: https://dx.doi.org/10.52200/43.A.BZRPNMNN