Abstract
In the decades after World War II there was much discussion about the need for collaboration between the architect and artist either as embodied in one or as distinctly different creative talents working closely but creatively independently together. Many saw little actual collaboration and questioned the relationship artistically or saw art as a cover for otherwise bland architecture. However, architects like Wallace K. Harrison, Gordon Bunshaft, and others worked regularly with artists like Josef Albers, Isamu Noguchi, Gyorgy Kepes or Richard Lippold. While many of those art installations remain today, they are under constant pressure because of real estate changes, renovations or simply neglect.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Public space, New York modern architecture.

Issue 42
Year 2010
Pages 78-89
DOI: https://dx.doi.org/10.52200/42.A.6ISNHKDW

Abstract
Painting, architecture and landscaping have never been so well incorporated in one person as in Roberto Burle Marx. His painter skills enabled Roberto Burle Marx to apply deep thorough pictorial principles to the landscape, thus avoiding other approaches made by pioneers who literally transposed cubist or abstract art, which almost resulted in caricatures. His botanical knowledge allowed him to discover new species in regard to their individual beauty and to their proper integration in ecological environments, which provided adequate choices of harmonious systems in terms of their aesthetics and their good survival in the new garden habitat.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Roberto Burle Marx, Modern painting, Modern gardens, Modern landscapes.

Issue 42
Year 2010
Pages 66-77
DOI: https://dx.doi.org/10.52200/42.A.J1FE0N0P

Abstract
The text registers and discusses the affinities between the transparency of a branch of modern sculpture and the characteristic porosity of Brazilian modern architecture, placed in the broader context of the exchange between architecture, painting, sculpture and construction in the twentieth century.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Transparent sculpture, Porous architecture, Brazilian modern architecture.

Issue 42
Year 2010
Pages 56-65
DOI: https://dx.doi.org/10.52200/42.A.TF7Z3LRE

Abstract
The arts bear witness to the cultural meaning of each period; we can discover the features that marked a historic individuality thanks to them. The more they demonstrate the union of concept or formal participation between them, the more clearly the social axis around which the man/culture duality revolves unfolds itself. The presence of this axis favours the agglutination of artistic expression. What is more, the unity of human content is fertile and a necessary condition so that the total integration flourishes. Architecture, painting, sculpture and technique combine around a common aim, around a collective purpose. The coming together of objectives facilitates the plastic synthesis.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Carlos Villanueva, Integration of the arts, Venezuelan modern architecture.

Issue 42
Year 2010
Pages 53-55
DOI: https://dx.doi.org/10.52200/42.A.SXIGO0SV

Abstract
When Villanueva worked in the Integration of the Arts project for the Ciudad Universitaria de Caracas, he moved from the idea of ‘synthesis of the arts’ (where arts “preserved their traditional features in order to qualify something whose existence was prior to them and of which architecture was the previous framework”) to the idea of ‘integration of the arts’, which “created a new architectural–sculptural–pictorial organism which did not express hierarchy but the formal combination of the functional and the spatial as equal categories,” he took a transcendental step to open his architecture to experimentation in the field of modern art.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Carlos Villanueva, Ciudad Universitaria de Caracas, Integration of the arts, Venezuelan modern architecture, Urban art.

Issue 42
Year 2010
Pages 46-52
DOI: https://dx.doi.org/10.52200/42.A.SBSUOF7N

Abstract
One of Alexander Calder’s largest artworks can be found in Venezuela, at the University of Caracas. It is the result of a unique collaboration between an architect, an acoustician and an artist. The university’s great fan shaped auditorium, designed by Carlos Villanueva in 1953, proved to be acoustically problematic and the engineer therefore proposed a solution with interior claddings. This was rejected, however, because it would radically change the shape of the hall. Finally, Alexander Calder was approached. He came up with an innovative installation consisting of 30 reflectors shaped as flying saucers and suspended from the ceiling

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Alexander Calder, Carlos Villanueva, University of Caracas Auditorium, Acoustic, Venezuelan modern architecture.

Issue 42
Year 2010
Pages 44-45
DOI: https://dx.doi.org/10.52200/42.A.LTFH6JET

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