Abstract
Brazilian historiography on modern architecture, replicated by international authors, confirms the importance and the pioneer stance of Gregori Ilitch Warchavchik (1896-1972)/Mina Klabin’s (1896-1969) 1927-1932 architecture in São Paulo, and the 1126 Bahia Street (Luiz da Silva Prado) house, 1930-1931, São Paulo, Brazil, is a remarkable example of their initial set of houses. Its design dialogues with other houses simultaneously designed by Adolf Loos (1870-1933), Le Corbusier (1887-1965), Juan O’Gorman (1905-1982), and the connections among all these modernist pieces and their authors suggest the informal existence of an interconnected network of creators, spread across continents. Likewise, they all put forward proselytizing strategies to amplify the repercussion of their works through exhibitions, publications, and debates. The generous internal spaces of this house on Bahia Street, the steady play of its geometrical composition, and its wise topographical and innovative landscape arrangements are well balanced, providing the authors’ aim of both making a manifesto and providing the site and the client’s necessities with an appropriate individual solution. The house has been used as a commercial space in recent decades, but it has been properly maintained and it is still in good shape.

Keywords
Modern Movement, Modern architecture, Modern single-family houses, Modern living space, Architecture of happiness, Gregori Ilitch Warchavchik, Mina Klabin, Luiz da Silva Prado House, São Paulo modern architecture.

Issue 64
Year 2021
Pages 18-25
DOI: https://dx.doi.org/10.52200/64.A.FAZ9ASIF

Abstract
“Chochikukyo” (1928) is the fifth residence designed by and for the architect Koji Fujii (1888-1938). As a result of his research on environmental engineering at Kyoto University, “Chochikukyo” presents the ideal form of a universal “Japanese house” that suits the climate of Japan as well as the sensitivity and lifestyle of the Japanese people. In 1999, “Chochikukyo” was selected as one of the twenty best docomomo buildings to represent Japanese modernist architecture, and in 2017, it was designated as a National Important Cultural Property which was the first time for an architect’s own house built in the Showa period (1926-1989).

Keywords
Modern Movement, Modern architecture, Modern single-family houses, Modern living space, Architecture of happiness, Koji Fuji, Chochikukyo, Timber architecture, Japanese modern architecture.

Issue 64
Year 2021
Pages 10-17
DOI: https://dx.doi.org/10.52200/64.A.YKIFL76A

Abstract
1948-49 were key years for the reaction of the Museum of Modern Art’s newly amalgamated Department of Architecture and Design to respond to the rising discourse on the “Synthesis of the Arts.” The response was indirect and took the form of MoMA assessing the progress of modern architecture that it had been describing and forecasting for fifteen years. The exhibition “From Le Corbusier to Niemeyer, 1929–1949” was part of a larger assessment of the fate of the international style and of the interaction between abstraction in painting and sculpture and in architectural design, a theme laid out by Alfred Barr and Hitchcock in the 1948 book Painting Toward Architecture. Niemeyer’s unbuilt Treamine House, designed with Roberto Burle Marx, was upheld as a synthesis not only of the arts but of the movements coalescing towards a postwar abstract consensus.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Museum of Modern Arts, Synthesis of the arts.

Issue 42
Year 2010
Pages 110-113
DOI: https://dx.doi.org/10.52200/42.A.TLVMHUCY

Abstract
Max Bill was an important reference in the field of art and architecture in Latin America. Unlike the synthesis of the arts, Max Bill was proposing a program based on “concrete art” and the idea of gute form, which sought to provide a common principle to the built environment that would guarantee its formal quality and harmony. This point was central to the reception of his ideas in Argentina. It was largely Tomás Maldonado who introduced these ideas. He presented Max Bill as a “total artist”, a sort of premonition of the “man of the future”, endowed with a capacity of coherence that would allow the synthesis not of the arts, but that of the artistic product with mass production.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Max Bill, Latin American modern architecture, Concrete art.

Issue 42
Year 2010
Pages 100-109
DOI: https://dx.doi.org/10.52200/42.A.STR8TDH8

Abstract
In the light of contemporary architecture, last century’s emblematic ‘artist-architect’ may appear at once disquietingly prophetic and almost surrealistically antiquarian. This essay explores the hypothesis that Le Corbusier’s ultimate passion was the museum, and his ultimate dream that of being assigned a key place in the history of art. Though this may sound simple enough - perhaps trivial - it may help re-organizing a very well-known (but also partly unknown) body of knowledge on the master and to understand better the paradox of the continuing presence in current architectural discussions.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Le Corbusier, Archi-sculpture, Synthesis of the arts.

Issue 42
Year 2010
Pages 90-99
DOI: https://dx.doi.org/10.52200/42.A.9QDJIPBO