Abstract
Lúcio Costa proposes an urbs and a civitas in his winning entry for the Brasilia competition (1957). The new seat of citizenship was to celebrate the March to the West dreamt by Brazilian Independence’s Patriarch José Bonifácio (1823) - who named the new capital - and taken up by president Juscelino Kubitschek (1955) - who promised fifty years of progress in five. Brasilia was to be a machine for remembering past, present and future hopes. Therefore, it had to be a memorable object itself, composed of memorable elements; differentiation from context counted in all levels. Like Costa, Oscar Niemeyer knew that common monumental features included volumetric simplicity, unusual size, scale or shape and extraordinary richness, as shown by his Palácio da Alvorada, the presidential residence (1956).

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Lúcio Costa, Brasilia Plan, Oscar Niemeyer, Alvorada Palace, Modern monumentality.

Issue 43
Year 2010
Pages 40-43
DOI: https://dx.doi.org/10.52200/43.A.DM9EB04A

Abstract
This is a selection of some writings by authors that visited, commented and analyzed Brasilia, collected mainly in non-Brazilian literature. Testimonies and judgments, most of them expressing mistrust, disbelief, disapproval and prejudice about the embryonic capital, and the change of the nature of the critique, looking to a complex city with half a century of existence. Quotations are presented in chronological order and in a dialectic array, contrasting points of views at distinctive moments of the city.

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

Issue 43
Year 2010
Pages 34-39
DOI: https://dx.doi.org/10.52200/43.A.5JKUTVCA

Abstract
By the 1950s, a shared culture spreading internationally through teaching and specialized literature became common currency in professional circles and gave rise to a repertoire of urban theories and practices. An examination of Lúcio Costa’s winning entry for the pilot plan of Brasilia attest to the existence of these paradigmatic formulae. Further more, not only was Brasilia a product of this culture, it grew to become itself archetypal. Yet, this high tide would be short-lived. In late 50s and early 60s, this veritable urban designer’s toolbox began to lose its legitimacy to become target of critical scrutiny.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Lúcio Costa, Brasilia Plan.

Issue 43
Year 2010
Pages 26-33
DOI: https://dx.doi.org/10.52200/43.A.8JO4XZ5H

Abstract
The urban design for Brasilia emphasizes the role of the city as a capital, that is to say, as an expression of State identity and power. Lúcio Costa considered monumentality as a characteristic inherent in urbanism, but this should not be achieved by any ostentatious grandiosity in terms of the volumes and sizes designed, and rather by providing a more singular external expression in the building concept used incorporating nature, capable of both pleasing and moving their occupants. The dimension of monumentality is a fundamental question in understanding the urban solution adopted in Brasilia.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Lúcio Costa, Modern monumentality, Brasilia Plan.

Issue 43
Year 2010
Pages 22-25
DOI: https://dx.doi.org/10.52200/43.A.DMT9PCP3

Abstract
Dislocating the capital to Brazil’s interior highlands is a long standing project in the country’s history. The project was first linked to the transfer of the royal court from Lisbon to the Portuguese America, where a metropolis would be established in what until then had been a colonial purveyor of goods. Until 1953, the quest for a worthy capital involved many factors such as the establishment of a Portuguese empire in the Americas, Portugal’s repudiation of an Ancien Régime monarchy in the South Atlantic, the formation of a counter hegemony in a former colony, or the construction of a unified, republican, and modern Brazilian nation. As Lúcio Costa - the architect of the final iteration of Brazil’s new capital - once put it: “it was a century-old purpose, always postponed.”

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Brazil’s new capital, History of Brazil.

Issue 43
Year 2010
Pages 14-21
DOI: https://dx.doi.org/10.52200/43.A.NBSA4DND

Abstract
The Competition for Brasilia’s Pilot Plan, 1957, brought together 26 projects for the Federal Capital. These projects, expressing the planning culture of the first half of the twentieth century, contribute to a diverse knowledge of planning solutions. But what element unites these projects? The common factor to them is the urban structure based on two urban axes. The reason for this is the flat territory and the introduction of such infrastructure. A model of planning cities based on their minimum elements that not only organize, but also qualify the place.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Brasilia Pilot Plan, Ideal city.

Issue 43
Year 2010
Pages 8-13
DOI: https://dx.doi.org/10.52200/43.A.WJL43ZGE

Abstract
Also in the field of preservation, Brazil has made an unparalleled contribution to the MoMo. After all, when in 1988 docomomo was founded, the country already had a number of modernist works legally protected. And Brasilia had joined the select World Heritage of UNESCO, the first modernist urban complex to be conferred that honor. The precedent was established, and since then other MoMo works - all prior to Brasilia - received the distinction: the Bauhaus in 1996, the Schröder House and the University of Caracas in 2000, the Tugendhat House in 2001, the White City of Tel Aviv in 2003.

Keywords
Modern Movement, Modern architecture, Brasilia modern architecture, World Heritage, Modern urban design, Protection of modern architecture, Documentation of modern architecture, Listing of modern architecture.

Issue 43
Year 2010
Pages 6-7
DOI: https://dx.doi.org/10.52200/43.A.L0L9Z1KH

Abstract
Sustainability is a concept that has been accepted as a foundation for professional practice, and toxicity of materials is gaining concern. While the topic of material toxicity is generally addressed with regard to new materials, the built environment represents a history of embedded toxins. However, this aspect of ‘inherited toxicity’ is scarcely addressed. Considering the toxic potential associated with 20th century building materials, this will grow more critical for the preservation field to address in coming years. In response to the increasing regulation of copper in both Europe and the US, the case study at Frank Lloyd Wright’s Price Tower (1956) is an exploration of whether or not an acute environmental impact from the building’s exterior copper elements exists, the results of which are assessed based on an expanded toxicology of copper.

Keywords
Modern Movement, Modern architecture, Sustainable architecture, Responsible architecture, Global design, Frank Lloyd Wright, Price Tower, USA modern architecture, Modern material toxicity, Conservation of modern architecture.

Issue 44
Year 2011
Pages 58-67
DOI: https://dx.doi.org/10.52200/44.A.KES8ABO1

Abstract
The architecture of the Modern Movement is today often seen as synonymous with technical innovation and experimental techniques. This view is supported by the Dessau Bauhaus itself and its programmatic “break” with tradition. Technical inadequacies and shortcomings, particularly from the perspective of today’s energy standards, serve as an argument to formulate criteria specific for preserving the architecture of the Modern Movement, different from “normal” and more generally accepted preservation principles. Are the materials and techniques of modern architecture really as innovative as they are alleged? The Tugendhat House in Brno, listed as an UNESCO World Heritage since 2001, and other structures of classical modernism, as for example, the Bauhaus in Dessau (1925–26) and the pavilions of the Brno fair grounds (1926–28), may serve as evidence that not everything was technical innovation, but that rather the traditional craft techniques in the Modern Movement have played a major role. Modern preservation is not limited to the presentation of the artistic idea, but sees the monument as a comprehensive resource of cultural activities and their material expression. Generally, the preservation of monuments can be seen as a paradigmatic form of a sustainable building policy.

Keywords
Modern Movement, Modern architecture, Sustainable architecture, Responsible architecture, Global design, Tugendhat House, Mies van der Rohe, Bauhaus, Czech Republican modern architecture, Conservation of modern architecture.

Issue 44
Year 2011
Pages 48-57
DOI: https://dx.doi.org/10.52200/44.A.B3PWGXRG

Abstract
Sustainability is now replacing Modernism as the main discourse for socio–economic, technological, architectural and urban development. However, the architectural legacy of Modernism remains an inherent part of our built environment. While some tenets of Modernism align with principles of sustainable design, many are in conflict, thus creating both a tension and an opportunity for creative reinvention of existing buildings and neighborhoods. Greening Manhattan’s Modernist Legacy was a seminar taught at Cornell University’s school of architecture that investigated these questions. The seminar explored an analytical approach to retrofitting Modernbuildings that prioritized environmental responsibility while critically reinterpreting the Modern aesthetic.

Keywords
Modern Movement, Modern architecture, Sustainable architecture, Responsible architecture, Global design, Modern building retrofit, Architectural reinterpretation.

Issue 44
Year 2011
Pages 40-47
DOI: https://dx.doi.org/10.52200/44.A.YQ2116KB