The 1920s saw the construction of Brazil’s first modernist buildings, which began to replace the neo-baroque and neoclassical styles of the colonial era. Architects like Gregori Warchavchik, Rino Levi, and Lina Bo Bardi, who had immigrated to the country from Europe, had a particular penchant for designing simple, rectilinear buildings in keeping with the Bauhaus or International Style. Lúcio Costa revolutionised the education system; architects like Ludwig Mies van der Rohe and Walter Gropius, as well as Le Corbusier and Max Bill, both of whom delivered lectures in Brazil, became role models for younger architects. In 1933, a group of these young architects organised the First Tropical Architecture Salon, one of the first events to concern itself with the specific features of Brazil’s climate. This launched the development of a uniquely Brazilian modernist architectural style, which led, among other things, to Oscar Niemeyer’s distinctive buildings. Most of these architects designed the furniture for their buildings themselves, working closely with designers, landscape architects, and artists.

Casa Modernista

São Paulo, 1927–1928

In designing the Casa Modernista, Ukrainian-born architect Gregori Warchavchik, who immigrated to São Paulo in 1923, created one of Brazil’s first modernist houses in the International Style, which was influenced by the Bauhaus. His wife, Mina Klabin Warchavchik, a pioneer of modern landscape architecture, created the garden. She also introduced him into the circle of modernist artists and writers. The two assembled an art collection in the Casa Modernista, with paintings by Tarsila do Amaral, Anita Malfatti, and Lasar Segall, frescoes by Antonio Gomide, prints by Oswaldo Goeldi, reliefs and stained-glass windows by John Graz, and sculptures by Victor Brecheret and Menotti del Picchia. One carpet was sourced directly from the Bauhaus workshop; other textiles were designed by Regina Gomide Graz. The furniture, lamps, windows, and doors were designed by the architect himself, resulting in a modern Gesamtkunstwerk. In order to give Brazilians a chance to see and experience the new forms of modern living first-hand, the Casa Modernista was opened to the public. Around 20,000 people took advantage of the opportunity.  

Ministério da Educação e Saúde Pública / Palácio Gustavo Capanema

Rio de Janeiro, 1936–1946

In 1936, Lúcio Costa was commissioned to create a building for the Ministry of Education and Health in Rio de Janeiro, the capital city at the time. A young Brazilian team led by Lúcio Costa developed the structure, based on initial designs by Le Corbusier and with the substantial involvement of Oscar Niemeyer. It was the first public building in South America to be designed in the International Style and attested to the Brazilian nation’s commitment to modernist architecture. The space underneath the building, which occupies an entire block in the middle of the city centre, was designed using pillars to act as a public plaza. Pedestrians could pass through unimpeded, experiencing the space of the city in an entirely new way. While the south-east façade is entirely glazed, the north-west façade is protected from the sun by movable brises-soleil (sunshades), which form an easily adjustable geometric pattern. The building’s architecture is complemented by murals with ceramic panels by Candido Portinari, as well as a garden designed by Roberto Burle Marx.

Parque da Pampulha

Belo Horizonte, 1942–1943

In the early 1940s, a new district designed by Oscar Niemeyer was developed around the artificial Lake Pampulha, in the vicinity of Belo Horizonte, the capital of the Brazilian state of Minas Gerais. The new district included a park that serves as a local recreational area for residents to this day. The project was part of a larger city development plan initiated by the city’s mayor at the time, Juscelino Kubitschek. The Parque da Pampulha harbours several significant architectural works by Oscar Niemeyer: the São Francisco de Assis church, with a mural and ceramic panels by Candido Portinari, a casino (today an art museum), and the Casa do Bailie (“dance house,” today a centre for architecture and design). The buildings reflect Niemeyer’s characteristic style, which combines the simple cubic design vocabulary of modernist concrete construction with contoured lines. Niemeyer worked closely with the landscape architect Roberto Burle Marx, who designed the gardens and green spaces that surround the architectural structures. These collaborations led to a harmonious interplay of architecture, art, and nature. 

Brasília

1956–1960

In 1955, Juscelino Kubitschek was elected president of Brazil. He made plans to found a new capital, Brasília, in the middle of the country, which he hoped would foster the region’s political and economic growth. The city was built within four years and drew thousands of workers to the area. Lúcio Costa designed a visionary planned city, comprising a functional division between city sectors, generous green spaces, and a clear traffic routing. Oscar Niemeyer was chosen to act as chief architect of many of the public buildings. His designs for the National Congress, the cathedral, and the presidential palace continue to shape the city’s futuristic image today. Once again, he collaborated with Burle Marx, who designed the green spaces and parks. The city is an expression of Brazil’s drive to modernise and of its identity as a land of progress. 

Casa de Vidro

São Paulo, 1949–1951

Designed by architect Lina Bo Bardi, who immigrated to Brazil from Italy in 1946, the Casa de Vidro (Glass House) is an outstanding example of “imported” modernist architecture. The building is distinguished by its simple, transparent structure, composed largely of glass and steel, which rests atop slender metal pillars, conveying the impression of a pavilion floating amidst the natural surroundings of São Paulo’s Morumbi neighbourhood. The transparent quality of the building allows for a seamless joining of interior and exterior, nature and architecture. Bo Bardi would later draw upon locally sourced materials and craftsmanship techniques in her architectural and furniture designs.

Museu de Arte de São Paulo (MASP)

1957–1968

In 1968, the Museu de Arte São Paulo inaugurated a new building designed by Lina Bo Bardi on Avenida Paulista, one of São Paulo’s main streets. The structure consists of a huge rectangular body resting upon two massive red concrete pillars. The vast open space beneath the hanging structure is used as a public plaza.

The hanging construction’s glass façades house exhibition spaces flooded with natural light and offer a commanding view of the city. For the display of the artworks, Bo Bardi conceived of free-standing glass plates to which the art pieces are still affixed to this day. Visitors can obtain information about the exhibits on the reverse side of the glass plates. Bo Bardi’s choices in this regard broke with traditional chronological exhibition concepts, encouraging an unbiased, intimate interaction with the art works. Her design emphasises the importance of art and culture as publicly accessible commodities and promotes social and cultural participation. It is an outstanding example of Lina Bo Bardi’s innovative, human-centred architecture.