{"id":14958,"date":"2009-01-08T06:11:28","date_gmt":"2009-01-08T06:11:28","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=14958"},"modified":"2020-01-20T10:27:03","modified_gmt":"2020-01-20T09:27:03","slug":"arquitectura-de-brasil-joao-batista-vilanova-artigas-arqmireya","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/arquitectura-de-brasil-joao-batista-vilanova-artigas-arqmireya\/","title":{"rendered":"<!--:es-->Arquitectura de Brasil: Jo\u00e3o Batista Vilanova Artigas<!--:--><!--:gl-->Arquitectura de Brasil: Jo\u00e3o Batista Vilanova Artigas<!--:--><!--:en-->Brazilian Architecture: Jo\u00e3o Batista Vilanova Artigas<!--:-->"},"content":{"rendered":"<p><!--:es--><\/p>\n<p style=\"text-align: justify;\">Como sabemos, la arquitectura del movimiento moderno brasile\u00f1o emanaba de tropos extra\u00eddos de la sintaxis del purismo de Le Corbusier, principalmente el uso de\u00a0<em>pilotis<\/em> y la circulaci\u00f3n mediante rampas. Ambos elementos adquirir\u00edan una papel destacado en la evoluci\u00f3n de la arquitectura de Vilanova Artigas una vez se distanci\u00f3 de Wright; una influencia que todav\u00eda estaba presente en su propia casa, de 1942, y en la casa Rio Branco Paranhos, de 1943. Las rampas como tema clave de su arquitectura aparecen por primera vez en el Hospital de S\u00e3o Lucas, construido en Curitiba en 1945, en el que sirven para unir las alas de un peque\u00f1o sanatorio. Una rampa de acceso combinada con<em>pilotis<\/em> determinar\u00eda el perfil de la secci\u00f3n de la casa Czapski, construida en 1949.<\/p>\n<p style=\"text-align: justify;\">Como Vilanova Artigas admitir\u00eda, la apropiaci\u00f3n de esos tropos proven\u00eda del modo en que se hab\u00edan utilizado en la arquitectura de R\u00edo de Janeiro durante la segunda mitad de la d\u00e9cada de 1930, sobre todo en la brillante obra temprana de Oscar Niemeyer, en la que la severidad de la sintaxis de Le Corbusier se ve\u00eda en parte atenuada por los paisajes sensuales de Roberto Burle Marx. Lo que la Escuela Paulista a\u00f1ad\u00eda a este exuberante lenguaje topogr\u00e1fico era una actitud tect\u00f3nicamente m\u00e1s rigurosa hacia la articulaci\u00f3n de la forma estructural. Dicha actitud se hace evidente en la cubierta inclinada de la casa Czapski, cuya pendiente es paralela, casi hasta constituir una caricatura, a la de la rampa de acceso que cobija; ambos elementos aparecen como un recorte en la superficie del muro cortina del edificio.<\/p>\n<p style=\"text-align: justify;\">Esta combinaci\u00f3n de una cubierta a un agua con una rampa ya aparec\u00eda en el proyecto para la casa Errazuris de Le Corbusier en 1930, y Niemeyer la elabor\u00f3 en el club n\u00e1utico de Pampulha, Belho Horizonte, 1942. En la obra de Vilanova Artigas, este binomio adquiere un car\u00e1cter de mayor estridencia escultural, confiriendo simult\u00e1neamente, tanto a la rampa como a la cubierta, una dimensi\u00f3n monumental.<\/p>\n<figure id=\"attachment_14962\" aria-describedby=\"caption-attachment-14962\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/06\/artigas.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-14962\" title=\"artigas\" src=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/06\/artigas.jpg\" alt=\"\" width=\"620\" height=\"564\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/06\/artigas.jpg 315w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/06\/artigas-300x273.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-14962\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Jo\u00e3o Batista Vilanova Artigas | pr.gov.b<\/span><\/figcaption><\/figure>\n<p style=\"text-align: justify;\">[&#8230;]<\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #888888;\">+ art\u00edculo publicado en arqmireya.blogspot.com<\/span><\/p>\n<p style=\"text-align: justify;\">\n<p><!--:--><!--:gl--><\/p>\n<p style=\"text-align: justify;\">Como sabemos, a arquitectura do movemento moderno brasileiro emanaba de tropos extra\u00eddos da sintaxe do purismo de Lle Corbusier, principalmente o uso de pilotis e a circulaci\u00f3n mediante ramplas. Ambos os elementos adquirir\u00edan un papel destacado na evoluci\u00f3n da arquitectura de Vilanova Artigas unha vez distanciouse de Wright; unha influencia que a\u00ednda estaba presente na s\u00faa propia casa, de 1942, e na casa Rio Branco Paranhos, de 1943. As ramplas como tema clave da s\u00faa arquitectura aparecen por primeira vez no Hospital de S\u00e3o Lucas, constru\u00eddo en Curitiba en 1945, no que serven para unir as \u00e1s dun pequeno sanatorio. Unha rampla de acceso combinada conpilotis determinar\u00eda o perfil da secci\u00f3n da casa Czapski, constru\u00edda en 1949.<\/p>\n<p style=\"text-align: justify;\">Como Vilanova Artigas admitir\u00eda, a apropiaci\u00f3n deses tropos provi\u00f1a do modo en que se utilizaron na arquitectura de R\u00edo de Janeiro durante a segunda metade da d\u00e9cada de 1930, sobre todo na brillante obra temper\u00e1 de \u00d3scar Niemeyer, na que a severidade da sintaxe de Lle Corbusier v\u00edase en parte atenuada polas paisaxes sensuais de Roberto Burle Marx. O que a Escola Paulista engad\u00eda a esta exuberante linguaxe topogr\u00e1fico era unha actitude tect\u00f3nicamente m\u00e1is rigorosa cara \u00e1 articulaci\u00f3n da forma estrutural. Dita actitude faise evidente na cuberta inclinada da casa Czapski, cuxa pendente \u00e9 paralela, case ata constitu\u00edr unha caricatura, \u00e1 da rampla de acceso que acubilla; ambos os elementos aparecen como un recorte na superficie do muro cortina do edificio.<\/p>\n<p style=\"text-align: justify;\">Esta combinaci\u00f3n dunha cuberta a unha auga cunha rampla xa aparec\u00eda no proxecto para a casa Errazuris de Lle Corbusier en 1930, e Niemeyer elaborouna no club n\u00e1utico de Pampulha, Belho Horizonte, 1942. Na obra de Vilanova Artigas, este binomio adquire un car\u00e1cter de maior estridencia escultural, conferindo simultaneamente, tanto \u00e1 rampla como \u00e1 cuberta, unha dimensi\u00f3n monumental.<\/p>\n<figure style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/06\/artigas.jpg\"><img loading=\"lazy\" decoding=\"async\" title=\"artigas\" src=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/06\/artigas.jpg\" alt=\"\" width=\"620\" height=\"564\" \/><\/a><figcaption class=\"wp-caption-text\"><span style=\"color: #888888;\">Jo\u00e3o Batista Vilanova Artigas | pr.gov.b<\/span><\/figcaption><\/figure>\n<p style=\"text-align: justify;\">[&#8230;]<\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #888888;\">+ artigo publicado en arqmireya.blogspot.com<\/span><\/p>\n<p style=\"text-align: justify;\">\n<!--:--><!--:en--><\/p>\n<p style=\"text-align: justify;\">Since we know, the architecture of the modern Brazilian movement was coming from tropes extracted from the syntax of the purism from Him Corbusier, principally the use of pilotis and the traffic by means of ramps. Both elements would acquire one paper emphasized in the evolution of Vilanova Artigas&#8217;s architecture once drifted apart from Wright; an influence that still was present in his own house, of 1942, and in the house Rio Branco Paranhos, of 1943. The ramps like key topic of his architecture appear for the first time in S\u00e3o Lucas&#8217;s Hospital, constructed in Curitiba in 1945, in which they serve to join the wings of a small sanatorium. A ramp of access combined conpilotis would determine the profile of the section of the house Czapski, constructed in 1949.<\/p>\n<p style=\"text-align: justify;\">As Vilanova Artigas would admit, the appropriation of these tropes was coming from the way in which they had been in use in the architecture of Rio de Janeiro during the second half of the decade of 1930, especially in Oscar Niemeyer&#8217;s brilliant early work, in which the severity of the syntax of Le Corbusier was meeting partly attenuated by Roberto Burle Marx&#8217;s sensual landscapes. What the School Paulista was adding to this exuberant topographic language was an attitude tect\u00f3nicamente more rigorous towards the joint of the structural form.The above mentioned attitude becomes evident in the sloping cover of the house Czapski, whose slope is parallel, almost up to constituting a cartoon, to that of the ramp of access that he shelters; both elements appear as a cut in the surface of the wall curtain of the building.<\/p>\n<p style=\"text-align: justify;\">This combination of a cover to a water with a ramp already was appearing in the project for the house Errazuris of Him Corbusier in 1930, and Niemeyer elaborated it in the nautical club of Pampulha, Belho Horizonte, 1942. In Vilanova Artigas&#8217;s work, this binomial acquires a character of major sculptural stridency, confiriendo simultaneously, both to the ramp and to the cover, a monumental dimension.<\/p>\n<figure style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/06\/artigas.jpg\"><img loading=\"lazy\" decoding=\"async\" title=\"artigas\" src=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/06\/artigas.jpg\" alt=\"\" width=\"620\" height=\"564\" \/><\/a><figcaption class=\"wp-caption-text\"><span style=\"color: #888888;\">Jo\u00e3o Batista Vilanova Artigas | pr.gov.b<\/span><\/figcaption><\/figure>\n<p style=\"text-align: justify;\">[&#8230;]<\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #888888;\">+ article is published in arqmireya.blogspot.com<\/span><\/p>\n<p style=\"text-align: justify;\">\n<!--:--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Como sabemos, la arquitectura del movimiento moderno brasile\u00f1o emanaba de tropos extra\u00eddos de la sintaxis del purismo de Le Corbusier, principalmente el uso de\u00a0pilotis y la circulaci\u00f3n mediante rampas. Ambos elementos adquirir\u00edan una papel destacado en la evoluci\u00f3n de la arquitectura de Vilanova Artigas una vez se distanci\u00f3 de Wright; una influencia que todav\u00eda estaba [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":14962,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33,3,1387],"tags":[11754,143,147,220,11752,11755,605,11756,11753,785,803,3243,2780,2001],"class_list":["post-14958","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arquitectos","category-capturas","category-ensayo","tag-alfred-agache","tag-arquitectura-contemporanea","tag-arquitectura-moderna","tag-brasil","tag-carlos-leao","tag-ernani-vasconcellos","tag-frank-lloyd-wright","tag-joao-batista-vilanova-artigas","tag-jorge-moreira","tag-le-corbusier","tag-lucio-costa","tag-oscar-niemeyer","tag-roberto-burle-marx","tag-sudamerica"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - 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