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Urban planning of evolutionary zones
Introduction
The architecture of Porto Alegre, capital of the Rio Grande do Sul, in the Federative Republic of Brazil, as is the case with other modern cities but endowed with some history, is a mosaic of ancient and modern styles. This characteristic is most visible in the center of the city, the historic urban core, where some examples of the architecture of the century and the so-called "golden" period of Porto Alegre architecture survive, between approximately 1900 and 1930.[1] Many of the oldest buildings disappeared throughout the century to give way to a new, more modernist line of urbanization#Modernist_architecture "Modernism (art)"). Today Porto Alegre divides its attention between the preservation of its historical heritage, and the renewal of its urban landscape with significant examples of contemporary architecture, facing the growth challenges of one of the largest capitals in Brazil, currently with almost 1.5 million inhabitants.[2][3].
Portuguese colonial style
The town was born with the arrival of colonization in the region, mainly made up of families of Portuguese rural producers during the 19th century, when this territory still legally belonged to the Spanish Crown. Thus consolidating a series of initiatives planned by the Portuguese state as part of its colonization plan. As part of this plan, starting in 1752, the first families of Azorean immigrants sent by the Portuguese government began to arrive, settling in the lands adjacent to the first local port, called Port of Viamão, giving rise to the initial urban nucleus of the future city of Porto Alegre.
In those first years, the town's facilities were naturally only modest, and the buildings were limited to a series of small mud houses covered with straw distributed irregularly along the coast of Lake Guaíba. Then, when conditions permitted, popular construction began to improve its quality, following the same typical colonial style of the rest of Brazil, of Portuguese heritage, and which is historically described as a derivation of the Baroque.[4][5].
In 1772 the town was elevated to the status of parish "Parish (civil)") and thoughts were already beginning to organize the growing urban fabric. Governor José Marcelino de Figueiredo then ordered the engineering captain and cartographer Alexandre José Montanha to draw up the city plan. In 1809 it was elevated to the status of a town "Villa (population)"), officially establishing its establishment in 1810. And shortly after, in 1812 it was named the capital of the Captaincy of Río Grande de San Pedro.[4].
Urban planning of evolutionary zones
Introduction
The architecture of Porto Alegre, capital of the Rio Grande do Sul, in the Federative Republic of Brazil, as is the case with other modern cities but endowed with some history, is a mosaic of ancient and modern styles. This characteristic is most visible in the center of the city, the historic urban core, where some examples of the architecture of the century and the so-called "golden" period of Porto Alegre architecture survive, between approximately 1900 and 1930.[1] Many of the oldest buildings disappeared throughout the century to give way to a new, more modernist line of urbanization#Modernist_architecture "Modernism (art)"). Today Porto Alegre divides its attention between the preservation of its historical heritage, and the renewal of its urban landscape with significant examples of contemporary architecture, facing the growth challenges of one of the largest capitals in Brazil, currently with almost 1.5 million inhabitants.[2][3].
Portuguese colonial style
The town was born with the arrival of colonization in the region, mainly made up of families of Portuguese rural producers during the 19th century, when this territory still legally belonged to the Spanish Crown. Thus consolidating a series of initiatives planned by the Portuguese state as part of its colonization plan. As part of this plan, starting in 1752, the first families of Azorean immigrants sent by the Portuguese government began to arrive, settling in the lands adjacent to the first local port, called Port of Viamão, giving rise to the initial urban nucleus of the future city of Porto Alegre.
In those first years, the town's facilities were naturally only modest, and the buildings were limited to a series of small mud houses covered with straw distributed irregularly along the coast of Lake Guaíba. Then, when conditions permitted, popular construction began to improve its quality, following the same typical colonial style of the rest of Brazil, of Portuguese heritage, and which is historically described as a derivation of the Baroque.[4][5].
In 1772 the town was elevated to the status of and thoughts were already beginning to organize the growing urban fabric. Governor José Marcelino de Figueiredo then ordered the engineering captain and cartographer Alexandre José Montanha to draw up the city plan. In 1809 it was elevated to the status of a town "Villa (population)"), officially establishing its establishment in 1810. And shortly after, in 1812 it was named the capital of the Captaincy of Río Grande de San Pedro.[4].
The first important construction of the small city was the Barro Palace, erected in 1773 at the request of the governor and designed by Montanha, in order to receive the administration of the Captaincy of Río Grande de San Pedro. This construction was only completed in 1789. The Palacio de Barro was used until 1896, when it was demolished. It was a mansion with two main floors and an attic, symmetrical in organization, with a central door and four windows on each side. Above, the same scheme was observed, but only with windows, and a hipped roof as coverage. The openings were in the shape of a dejected arch, characteristic of the colonial Baroque, and the upper ones received an ornamental cornice on top, also curved.[6].
But the most ambitious project of that beginning of settlement was the Main Church, whose construction was ordered in the ecclesiastical provision that created the parish. The works began in 1780, based on a design sent ready by the archdiocese of Rio de Janeiro, and whose authorship is unknown. Its layout was late Baroque, or Rococo, very simple, almost without any external ornament. Its most characteristic element was the delicate undulation of its pediment "Fronton (architecture)"), the rest followed the functional plan of the Catholic Church during the colony: a two-story façade in the body of the building, in a tripartite scheme, with decorated openings, with an ornamental pediment and two side towers for the bells. Inside, a vestibule under the choir, a nave "Nave (architecture)"), a capela-mor") with a scenic altarpiece in the background, secondary altars in side niches and sculpture. The first Principal of Porto Alegre was not exceptionally rich, but it had quite significant internal decoration in an extravagant and vigorous Rococo style, similar to that which we can still see today in the Principal of Viamão&action=edit&redlink=1 "Main Church of Our Lady of the Conception (Viamão) (not yet written)").[5] Its construction lasted for many years, and even without being completely ready, it already required restoration, as can be seen in an order from the Count of Caxias in 1846 ordering the completion of the left tower, plastering the exterior and repairing the roof that was already falling into ruin.[7] From the same period and erected in the same place is the Casa de la Junta"), dated 1790, in a style very similar to the Palacio de Barro, but smaller in size. It is the oldest building in the city still existing, and served as the headquarters of the Legislative Assembly and the Treasury Administration and Collection Board. Its current appearance is not completely original, having been remodeled in the 19th century.[4] These buildings were built on the highest hill in the region, currently dominated by the Plaza de la Principal"), which later also attracted the elite to establish their residences.[5].
The heritage of the colonial style remained strong in the city until the end of the century, especially in popular architecture, where its profile was very austere, and the only ornament was an arch in the openings or a wrought iron lattice, and more rarely a tile covering on the portals. Due to the needs imposed by the urban model of the time, the facades were attached to each other, and could be one or two stories. Its material was adobe or brick, covered with tiles. They had plaster and lime on the outside, and the openings had apparent wood molding. One of the oldest examples of this type of urban residence that has survived to this day is the Casa Ferreira de Azevedo"), unfortunately in a ruinous state, preserved by the Municipality but abandoned by the owners.[8] The elite, in turn, built much larger houses and luxuriously decorated interiors, with extensive gardens, such as the Solar de los Cámara"), the oldest residential construction in the city still standing, today transformed into cultural center. It was built by the Visconde of São Leopoldo between 1818 and 1824, being extensively renovated in 1874.[9].
In the suburbs and in the rural area, the plot remained the most important type, conceived as a mere country house or as the headquarters of a more or less self-sufficient property. It generally constituted an architectural complex composed of a stately house surrounded by improvements, such as barns, sheds and various warehouses. A good example is the Solar Lopo Gonçalves"), probably built between 1845 and 1855, still in excellent condition, and today the headquarters of the Joaquim Felizardo Museum").[4][10].
In the religious field, the Church of the Dores (1807), the oldest still surviving in Porto Alegre and declared National Heritage by IPHAN, is important. Although its designed colonial façade has been modified, its interior is intact, and exhibits rich golden carving. In the main altarpiece the Neoclassical style is already showing signs of appearance. A decade later the foundation stone of the Church of the Rosário would be laid&action=edit&redlink=1 "Church of Our Lady of the Rosário (Porto Alegre) (not yet written)"), in colonial Baroque style, demolished in 1951. The Chapel of Our Lord of the Steps was of the same aesthetic, but it was remodeled as a Neo-Gothic building in 1909, and in 1951 it gave way to the Church of the Concepción "Church of Our Lady of the Conception (Porto Alegre")", made and decorated by Juan del Couto Silva"), the only church in colonial style that was preserved in its primitive state. In its very rich decorative carving, neoclassical features are also noted.[11].
• - Chamber Solar.
• - Solar Lopo Gonçalves.
• - Church of Our Lady of the Conception.
• - Athayde d'Avila: Beach Street, c. 1880. Image of the city center at the end of the century, still with a massive presence of colonial houses.
Neoclassicism and Eclecticism
Contenido
A mediados de siglo el Neoclasicismo ya era una influencia importante, y junto con el antiguo colonial, dio origen a una variedad de soluciones eclécticas, tendencia que iría dominando el panorama hasta la década de 1930. De perfil neoclásico el más importante remanente es el edificio de la Curia Metropolitana"), construido a partir de 1865 bajo la dirección de Jules Villain (o Villiers), y alterado en algunos detalles por Johann Grünewald, componiendo un majestuoso conjunto de dimensiones palaciegas que fue aclamado por Athos Damasceno como el único monumento de la ciudad digno de ese nombre:.
Le sigue en imponencia, pero superándolo largamente en fama, el Teatro San Pedro&action=edit&redlink=1 "Teatro San Pedro (Porto Alegre) (aún no redactado)"), cuyo proyecto fue elaborado en Río de Janeiro y ejecutado por Felipe de Normann. Inaugurado el 27 de junio de 1858, con capacidad para 700 espectadores y con su decoración en terciopelo y oro, en una época en que Porto Alegre tenía poco más de veinte mil habitantes, es el más antiguo teatro de la ciudad. Sufrió una degradación acentuada y casi fue demolido en los años 70, pero felizmente está recuperado. El Teatro fue concebido con un edificio gemelo, que se levantó del otro lado de la calle, el antiguo Tribunal de Justicia&action=edit&redlink=1 "Palacio de la Justicia (Porto Alegre) (aún no redactado)"), pero este fue consumido por el fuego en los años 50.[7].
Ejemplo típico del Eclecticismo practicado en mediados del siglo es el vasto Mercado Público"), planificado por el ingeniero Frederico Heydtmann") en 1861, pero el diseño cuadrangular fue alterado con ampliación de las dimensiones y adosamiento de torreones en los cantos. La construcción tuvo su piedra fundamental lanzada en 1864, siendo inaugurado en 1869, y sustituyó el mercado anterior, más modesto. El conjunto sufrió modificación substancial en los años 10 con la adición de un segundo piso, preservando sin embargo el estilo.[7] De caracterización estilística semejante son el Museo del Comando Militar del Sur, un edificio de grandes dimensiones, inaugurado en 1867, construido por el maestro de obras Manoel Alves de Oliveira como un anexo del Arsenal de Guerra;[12] el edificio de la 8.ª Circunscripción de Servicio Militar"), erguido sobre una construcción anterior que albergaba los Almacenes Reales, y el Palacio Provisorio, cuyo diseño, del ingeniero Francisco Nunes de Miranda, fue posteriormente modificado por el ingeniero Antônio Mascarenhas Telles de Freitas. Las obras del Palacio Provisorio iniciaron en 1857 y el proyecto incluía soluciones estructurales modernas para la época, como la losa de cobertura con sistema de perfiles en ángulo doble "T " combinado con ladrillos por compresión, formando pequeños arcos.[13] Otro gran edificio ecléctico fue la Casa de Corrección, más tarde demolida, de distribución neoclásica y detalles constructivos que remitían a la arquitectura militar. Pero el ejemplo más monumental del Eclecticismo portoalegrense es el conjunto histórico del Hospital Psiquiátrico San Pedro"), que según los técnicos del IPHAE") es.
• - Curia Metropolitana.
• - Teatro Son Pedro.
• - Mercado Público.
• - Paço Municipal.
The "golden phase" of architecture in Porto Alegre
Of a more ornate eclecticism is the Pazo Municipal de Puerto Alegre"), designed by Giovanni Colfosco, an Italian, and begun in 1898. It would be one of the first architectural examples to exhibit the influence of Positivism, perceived in the complex network of allegories represented in the decorative sculpture of the façade. It would also be one of the first monumental public buildings of what would later come to be called the "golden phase" of architecture. portoalegrense.[1] According to Beatriz Thiesen,.
This desire for renewal brought various novelties to the city's architecture. An enriched bourgeoisie formed mainly by descendants of German immigrants, together with the official spheres, gave the most decisive impulse, commissioning sumptuous works, at a time when the state was experiencing a phase of prosperity, becoming the third largest economy in Brazil.[16] The most important influences that would define the profile of the main buildings erected in that phase were French pompier architecture, with its exuberant decorativeness and ostentatious character, and positivist philosophy, adopted by the government, creating a defined and idealistic iconography reflecting visions of progress, civilization and order. Construction techniques accompanied the development of technology and industry: more extensive structural use was made of reinforced concrete, angle and cement, buildings rose to greater heights, the sculpture of their facades multiplied and more economically appropriate solutions were found for their manufacture, such as cement moulds. They also replace decoration materials, and stained glass windows appear more frequently on the city streets, blacksmith ornaments, parietal paintings with landscapes and ornaments in the interiors, and marbles for columns, floors and other elements.[1].
The most significant names in this phase of building explosion were Theodor Wiederspahn, an architect born in Germany, owner of a powerful and original eclectic style, combining Renaissance, neo-baroque, neoclassical features and a luxurious decorative conception; Rudolf Ahrons, construction engineer, leader of a construction office that carried out the most important works, and Juan Vicente Friedrichs"), owner of the most sought-after and popular local decoration atelier, employing a multitude of local and foreign artisans of solid training, such as Alfred Adloff, Wenzel Folberger"), Alfredo Staege") and many more.[17] The partnership established between them lasted until 1914, when Ahrons' office closed, leaving a large series of large buildings beauty and grandeur, some creating notable architectural feats, such as the building of the old Bopp Brewery&action=edit&redlink=1 "Brahma Brewery Building (Porto Alegre) (not yet written)"), which at its inauguration was the largest reinforced concrete building in Brazil. Wiederspahn is disputed but seems likely. Günter Weimer also attributes the basic layout of the new Metropolitan Cathedral to him, which replaced the old Main Church, although credit for the project is usually given to Giovanni Giovenalle. His work includes more than 500 projects, carried out not only in Porto Alegre. Many of them no longer exist, but several are preserved, preserved by official bodies, such as the Ely Building, the Majestic Hotel, the Forecast of the South"), in addition to more than a dozen mansions requested by the elite of the time. Trades and the first union of architects.[16] Also important was the formulation in 1914 by the Municipal Administration of the , possibly conceived by Juan Moreira Maciel, and considered by Helton Bello the greatest legacy of the positivist administration in urban terms, for being a fundamental instrument for the modernizing transformations that would be consolidated later, supplanting the inherited urban structure and image. colonial.[4][20].
Deco and Modernism
The following generation was adept at Déco, where Fernando Corona, Armando Boni") and Joseph Franz Seraph Lutzenberger stood out. The Déco aesthetic abandons the heavy decorativeness of late Eclecticism in search of solutions with simpler ornamentation and more integrated into the functionality and structure of the spaces, which together with advances in construction techniques, made possible the beginning of the process of verticalization of the city. Their works reflect this new synthesis and a new vision of progress of its beauty related to simplicity, rationality, practicality and structural authenticity, ideals that would be radicalized with the modernists.
The Déco presence was detected between the 20s and 30s, preceding Modernism#Modernist_architecture "Modernism (art)") architectural in the city by more than 10 years.[26].
Corona began as a sculptor, being a student of Friedrichs, but then he ventured into architecture, with good results. He was responsible for the adaptation of the exterior of a project by Wiederspahn for the Banco de la Provincia, currently the Santander Cultural, in addition to his work carried out at the Chaves Gallery and the Flores de la Cunha General Education Institute). throughout Latin America, in addition to several public and private works, such as his own residence"). Lutzenberger came from Germany to work at the construction company Weis & Cia, designing important buildings, such as the Sao José Church "São José Church (Porto Alegre), the Commerce Palace and the Pão de los Pobres Institute"). between the wars, several of them being preserved by the public power.[26][28].
But according to Davit Eskinazi, it was only from the mid-1930s, more precisely after the Farroupilha Centennial Exhibition in 1935, that the first examples of modern architecture began to emerge in the urban scene of Porto Alegre:
In the 1930s the old General Improvement Plan was already obsolete, and the city demanded a new organization. Edvaldo Paiva and Ubatuba de Faria, municipal officials, and Arnaldo Gladosch"), hired from Rio, outlined some attempts to reorganize the central urban ejido according to modern principles, but none were successfully implemented. In parallel, another model for the peripheral and horizontal expansion of the city was devised. Several neighborhoods or urban residential lots created mainly in the 1930s and 1940s proposed a local interpretation of the prototype of the "city garden", with an organic layout of isolated low-scale constructions and dense vegetation, the best examples of which are Vila Jardim, Vila Assunção and Vila Conceição.[20].
A decade later, everything that was previously considered tradition in architecture seemed to have disappeared, and the avant-garde was already working only with basic geometric shapes, stripped of all decorative artifice. The one from 1946 is one of the first buildings erected in Porto Alegre with its typically modernist aesthetic, the Colégio Venezuela, designed by Demétrio Ribeiro, retaining just a few residual features of traditional architecture.[30].
At the same time, Edgar Graeff began to act in the city, trained at the National Faculty of Architecture of the University of Brazil), who maintained some first-hand contacts with the pioneers of Modernism in Brazil. His work induced a more or less general adoption of elements derived from the work of Lúcio Costa, Oscar Niemeyer and other exponents of the Rio school.[31] According to Carlos Goldman,
Another prominent name, who arrived in the city at the same time and with the same training was Carlos Mendonça"), creating a large number of works in less than a decade of activity, some of great size. a now regular flow of new and good professionals in the market.[20] By the 1950s, Modernism was already crowned by officialdom. Emblematic buildings such as the Farroupilha Palace, designed by Gregório Zolko and Wolfgang Schoedon, to function as the headquarters of the Legislative Assembly,[34] and the Porto Alegre Courthouse, a project by Fernando Corona and Carlos Fayet), both the result of public competitions, were built according to totally modernist principles. Among the projects of interest in that phase we can mention the Hipódromo de Cristal and the Explanada Building by the Uruguayan Román Fresnedo Siri;[30] the Fêmina Hospital"), by Irineu Breitman; the old headquarters of the Salgado Filho Airport, by Nelson Souza; the Faculty of Pharmacy of the UFRGS, by Flávio Figueira Soares and Lincoln Ganzo de Castro;[35] and the initial layout of the Hospital de Clínicas"), by Jorge Moreira, which, if it had not been distorted, would later become, according to Marcos da Silva, one of the architectural references of the gaucho capital.[36] At that time the urban center was already full of buildings of considerable height, highlighting Emil Bered and Salomão Kruchin as authors of several residential buildings.[35][37].
Population expansion
The rapid population expansion was beginning to force urban planners to find new large-scale housing solutions. Among the initiatives to solve the problem, the construction of the Passo D'Arena Residential Complex stands out, one of the most successful projects of all those that were carried out at its time, and which was recently declared Cultural Heritage of the municipality.[20][38] By the end of the decade, the first Master Plan of Porto Alegre was implemented, composed by Edvaldo Paiva and Demétrio Ribeiro based on the Charter of Athens, and which was supported by specific legislation (Law 2046/59). For Helton Bello, this Plan accentuated the verticalization of the city, and he says of Porto Alegre:
As an effect of the development of Juscelino Kubitschek and with the addition of a euphoric feeling generated by the "Brazilian Miracle") after the military coup of '64, the Modernism of the Rio school gradually lost space to give way to a brutalist variant originating in São Paulo, which in the mid-1970s was already the dominant trend throughout the country. It offered a vigorous and monumental plastic attachment in a model suitable for the volume and dimension of the works. opportunities offered by the Brazilian Miracle, when the country's GDP grew at a dizzying average of 11.2% annually and the military dictatorship intensified its state policies.[39].
Verticalization accelerated and extensive housing complexes financed by the National Housing Bank were built on the periphery. In the center of the public administration, dramatic interventions were carried out, such as the construction of the Elevada Concepción, but the technical approach to the projects did not consider the elementary aspects of urban landscaping and favored the decharacterization of the historic center, disappearing innumerable eclectic buildings, some of great value, and the remnants of colonial architecture, both residential as public.
Faced with the official nonsense towards the architectural past, some intellectuals began to protest against so many demolitions, launching the seeds for the formation of a preservationist conscience that would slowly gain body among the people of Porto Alegre. And as an irony of the evidence of the contradictions of the government's euphoric program, in that period several favelas began to appear in the empty urban spaces around it, leaving the city isolated from Lake Guaíba and the port that gave it its name, with the construction of an extensive wall to prevent crime.[20].
Aesthetically, the modernist principles remained generally valid, in a unfolding of the Charter of Athens, which was referenced by the new Master Plan of 1979, although some innovations were introduced, such as an inspiration in the model of the "super blocks" used in Brasilia and greater community participation in decisions through the Municipal Councils.[20] The general quality of the buildings, however, declined. On the other hand, academic circles were already beginning a review of Modernism and the influence of Uruguayan architects, which at that time became significant, introducing unprecedented technical resources such as reinforced ceramics.
Some of the most promising works in this period were the Administrative Center of the State of Río Grande do Sul"), carried out by Charles Hugaud, Cairo da Silva and others; the Supply Central, by Carlos Fayet, Carlos Comas and Cláudio Araújo; and the buildings of the Memphis industries, by Araújo and Cláudia Flota.[22].
Contemporaneity
The planning devised in 1979 was not completely successful in its application. Establishing new construction indexes, the constant changes gave rise to a series of frictions between residents of residential areas, public officials and also real estate agents, due to the authorization of new tall buildings in predominantly residential areas, breaking the characteristic landscape of some traditional neighborhoods with buildings up to 20 stories high. The controversy led to a new reformulation of the legislation in the 1980s. It was then that it was definitively understood that a more comprehensive strategy would be necessary not only between architecture and urban planning for a general harmonious growth, but in addition, it was also necessary to attract other areas of knowledge for the constant discussions, and imagine more dynamic, realistic and adaptable solutions to the increasingly fluid profile of society, developing strategic plans based on the axes of urban structuring and mobility, on the forms of use of the private land, in environmental qualification, in economic promotion and in a series of more updated planning criteria.
Always taking into account aspects of collective memory, cultural identity and human coexistence. The success of the proposals in this sense, which followed one another as the years passed, included new revisions of the Master Plan, which at first turned out to be very controversial, with more setbacks than progress. That is why there are still occupation zones that generate some controversies and real estate speculation continues to put pressure on public power always trying to influence decisions, and on the other hand there are also serious problems in the popular housing system to be resolved.[2][22].
At the same time, with the creation in 1981 of the Historical and Cultural Heritage Team, shortly after linked to the Coordination of Cultural Memory of the Municipal Secretariat of Culture, a process of study and rescue of cultural assets owned by the Municipality of special historical, social and architectural interest began, systematizing municipal conservations, which had begun a few years before, in 1979. This action was strengthened by the installation of the IPHAN regional desk, taking care of national interests in the area of historical heritage throughout the state, and also with the State Historical and Artistic Heritage Coordinator, predecessor of IPHAE"), both established in 1979, institutions that have been carrying out various conservation and preservation actions in the city at the federal and state level. neighborhoods of the "garden city" and areas of special cultural interest.[20] A new awareness of the preservation of old buildings and green areas was then born, and with this many secular buildings that were on the demolition list were saved.[2] This is the case of the Bonfim Chapel&action=edit&redlink=1 "Our Lord Jesus of Good End Chapel (Porto Alegre) (not yet written)") exemplary in that sense. abandonment and degradation it caught fire, and to this day it is believed that it was a fire of criminal origin. Important elements such as the carved main altar were lost, and under the pretext of being very ruined it was almost demolished, but society reacted, and all the subsequent controversy contributed to marking on the conscience of everyone, citizens and public power, the value of memory, art, history and its material testimonies. 1983.[44].
Meanwhile, the actions of official bodies for the preservation of historical heritage are still frequently halted by contrary particular interests, by the delay in protection processes and by a constant budget insufficiency. Thus, although the work in this sense has advanced a lot, with the intensification of municipal actions and the recent census of more than 130 properties in the historic center by the Monumental Program"), of the Ministry of Culture&action=edit&redlink=1 "Ministry of Culture (Brazil) (not yet drafted)"), it is worrying that the public authorities have taken so long to protect some buildings of great importance such as the Concepción church and the Cathedral-Cúria complex (demolished in the 2007 and 2009 respectively). Among other properties that were already listed as protected but that were demolished despite the laws, we must also add the problem of a large number of historic buildings that still do not receive official protection[45][22][46][47][48].
In aesthetic terms, in recent decades, the decline of the modernist school and its replacement by the values of Postmodernism has been verified, re-reading pre-modernist historical styles and creating a new census of eclecticism, freedom and formal democracy. The most paradigmatic examples of this trend are the controversial shopping centers that in recent years have invaded the landscape, many of them with daring formal solutions, extravagant decoration and a high-tech spirit, but whose taste and relevance for the landscape are sometimes placed under suspicion. Some critics refuse to recognize a truly alive architecture in the present of Porto Alegre and do not find more works that have this background of cultural references and urban frameworks and denounce an identity crisis in the new structures of the place. But for others, the high level of debate on architectural issues attracts international personalities and the success of projects to revitalize old areas and structures, such as the creation of the DC Navegantes Shopping Center and the Nueva Olaria Shopping Center by local architects and the work in the city of renowned foreign designers, such as Álvaro Siza, responsible for the Iberê Camargo Foundation building, considered a masterpiece, are enough to indicate that the architecture of Porto Alegre maintains considerable dynamism and is integrated into what happens in the rest of the world.[3][22][49][50] This most recent phase of the evolution of Porto Alegre architecture is, however, still lacking in more in-depth study and documentation, with qualified publications being scarce.[51].
• - Headquarters of the Vivo telephone company.
• - Iberê Camargo Foundation.
• - Mostardeiro Business Center.
• - Bourbon Shopping Country.
• - Mercure Building.
• - Shopping Praia de Belas.
• - Favela pocket at the entrance of the city.
• - Popular housing complex of Villa de los Papeleiros, where a few years ago there was a favela.
• - Wikimedia Commons hosts a multimedia category on Architecture of Porto Alegre.
• - History of Porto Alegre.
• - Culture of Porto Alegre").
• - Architecture of Brazil.
• - Historical buildings of Porto Alegre").
• - This work contains an automatic translation derived from «Arquitetura de Porto Alegre» from Wikipedia in Portuguese, specifically from this version, published by its editors under the GNU Free Documentation License and the Creative Commons Attribution-ShareAlike 4.0 International License.
References
[1] ↑ a b c d Doberstein, Arnoldo Walter. Escultura y Ideologia: Porto Alegre 1900-1920. Porto Alegre: SMC, 1992.
[4] ↑ a b c d e f Macedo, Francisco Riopardense de (1999). Porto Alegre: Origen y Crecimiento (en portugués de Brasil). Porto Alegre: Prefeitura Municipal.
[19] ↑ Weimer, Günter. Construtores Italianos en Rio Grande do Sul. In Dal Bó, Juventino; Iotti, Luiza Horn & Machado, Maria Beatiz Pinheiro (orgs). Inmigración Italiana y Estudios Ítalo-BRasileiros: Anais del Simpósio Internacional sobre Inmigración Italiana y IX Fórum de Estudios Ítalo-Brasileiros. Caxias del Sur: EDUCS, 1999. p.347.
[29] ↑ Eskinazi, Davit. La arquitectura de la exposición conmemorativa del centenario de la Revolución Farroupilha de 1935 y las bases del proyecto moderno en el Rio Grande do Sul. Porto Alegre: UFRGS, 2003.
[30] ↑ a b Almeida, Guilherme Essvein de. Arquitectura Moderna en Porto Alegre: del arcaísmo al barroco. Jornada de Encuesta y Extensión, 2008. ULBRA/Santa Maria.
[31] ↑ a b Goldman, Carlos Henrique. A casa moderna en Porto Alegre. UFRGS, 2004.
[37] ↑ Eneida Ripoll Ströher. La vivienda colectiva en la obra del arquitecto Emil Bered, en la década de 50, en Porto Alegre. UFRGS, 1998.
[38] ↑ Degani, José Lourenço. Tradición y modernidade en el ciclo de los IAPs, el conjunto residencial del Passo D'Arena y los proyectos modernistas en el contexto de la vivienda popular de los años 40 en el Brasil. UFRGS, 2004.
[44] ↑ Cadernos de Restauro II: Capilla Nuestro Señor Jesús del Bueno Fin. Porto Alegre: Prefectura Municipal, 1989.
[45] ↑ Un patrimonio para tener orgulho (enlace roto disponible en Internet Archive; véase el historial, la primera versión y la última).. Clipping Cultural del Memorial del Ministerio Público, 26/03/2008.: http://www.mp.rs.gov.br/memorial/clips/id13722.htm
[51] ↑ Marques, Sergio Moacir. Documentación y conservación: El nuevo velho problema de la encuesta en arquitectura (moderna) Archivado el 12 de junio de 2009 en Wayback Machine.. Facultad de Arquitectura y Urbanismo UniRitter, sd.: http://www.uniritter.edu.br/w2/arquitetura/acervo/Artigo.pdf
parish "Parish (civil)")
The first important construction of the small city was the Barro Palace, erected in 1773 at the request of the governor and designed by Montanha, in order to receive the administration of the Captaincy of Río Grande de San Pedro. This construction was only completed in 1789. The Palacio de Barro was used until 1896, when it was demolished. It was a mansion with two main floors and an attic, symmetrical in organization, with a central door and four windows on each side. Above, the same scheme was observed, but only with windows, and a hipped roof as coverage. The openings were in the shape of a dejected arch, characteristic of the colonial Baroque, and the upper ones received an ornamental cornice on top, also curved.[6].
But the most ambitious project of that beginning of settlement was the Main Church, whose construction was ordered in the ecclesiastical provision that created the parish. The works began in 1780, based on a design sent ready by the archdiocese of Rio de Janeiro, and whose authorship is unknown. Its layout was late Baroque, or Rococo, very simple, almost without any external ornament. Its most characteristic element was the delicate undulation of its pediment "Fronton (architecture)"), the rest followed the functional plan of the Catholic Church during the colony: a two-story façade in the body of the building, in a tripartite scheme, with decorated openings, with an ornamental pediment and two side towers for the bells. Inside, a vestibule under the choir, a nave "Nave (architecture)"), a capela-mor") with a scenic altarpiece in the background, secondary altars in side niches and sculpture. The first Principal of Porto Alegre was not exceptionally rich, but it had quite significant internal decoration in an extravagant and vigorous Rococo style, similar to that which we can still see today in the Principal of Viamão&action=edit&redlink=1 "Main Church of Our Lady of the Conception (Viamão) (not yet written)").[5] Its construction lasted for many years, and even without being completely ready, it already required restoration, as can be seen in an order from the Count of Caxias in 1846 ordering the completion of the left tower, plastering the exterior and repairing the roof that was already falling into ruin.[7] From the same period and erected in the same place is the Casa de la Junta"), dated 1790, in a style very similar to the Palacio de Barro, but smaller in size. It is the oldest building in the city still existing, and served as the headquarters of the Legislative Assembly and the Treasury Administration and Collection Board. Its current appearance is not completely original, having been remodeled in the 19th century.[4] These buildings were built on the highest hill in the region, currently dominated by the Plaza de la Principal"), which later also attracted the elite to establish their residences.[5].
The heritage of the colonial style remained strong in the city until the end of the century, especially in popular architecture, where its profile was very austere, and the only ornament was an arch in the openings or a wrought iron lattice, and more rarely a tile covering on the portals. Due to the needs imposed by the urban model of the time, the facades were attached to each other, and could be one or two stories. Its material was adobe or brick, covered with tiles. They had plaster and lime on the outside, and the openings had apparent wood molding. One of the oldest examples of this type of urban residence that has survived to this day is the Casa Ferreira de Azevedo"), unfortunately in a ruinous state, preserved by the Municipality but abandoned by the owners.[8] The elite, in turn, built much larger houses and luxuriously decorated interiors, with extensive gardens, such as the Solar de los Cámara"), the oldest residential construction in the city still standing, today transformed into cultural center. It was built by the Visconde of São Leopoldo between 1818 and 1824, being extensively renovated in 1874.[9].
In the suburbs and in the rural area, the plot remained the most important type, conceived as a mere country house or as the headquarters of a more or less self-sufficient property. It generally constituted an architectural complex composed of a stately house surrounded by improvements, such as barns, sheds and various warehouses. A good example is the Solar Lopo Gonçalves"), probably built between 1845 and 1855, still in excellent condition, and today the headquarters of the Joaquim Felizardo Museum").[4][10].
In the religious field, the Church of the Dores (1807), the oldest still surviving in Porto Alegre and declared National Heritage by IPHAN, is important. Although its designed colonial façade has been modified, its interior is intact, and exhibits rich golden carving. In the main altarpiece the Neoclassical style is already showing signs of appearance. A decade later the foundation stone of the Church of the Rosário would be laid&action=edit&redlink=1 "Church of Our Lady of the Rosário (Porto Alegre) (not yet written)"), in colonial Baroque style, demolished in 1951. The Chapel of Our Lord of the Steps was of the same aesthetic, but it was remodeled as a Neo-Gothic building in 1909, and in 1951 it gave way to the Church of the Concepción "Church of Our Lady of the Conception (Porto Alegre")", made and decorated by Juan del Couto Silva"), the only church in colonial style that was preserved in its primitive state. In its very rich decorative carving, neoclassical features are also noted.[11].
• - Chamber Solar.
• - Solar Lopo Gonçalves.
• - Church of Our Lady of the Conception.
• - Athayde d'Avila: Beach Street, c. 1880. Image of the city center at the end of the century, still with a massive presence of colonial houses.
Neoclassicism and Eclecticism
Contenido
A mediados de siglo el Neoclasicismo ya era una influencia importante, y junto con el antiguo colonial, dio origen a una variedad de soluciones eclécticas, tendencia que iría dominando el panorama hasta la década de 1930. De perfil neoclásico el más importante remanente es el edificio de la Curia Metropolitana"), construido a partir de 1865 bajo la dirección de Jules Villain (o Villiers), y alterado en algunos detalles por Johann Grünewald, componiendo un majestuoso conjunto de dimensiones palaciegas que fue aclamado por Athos Damasceno como el único monumento de la ciudad digno de ese nombre:.
Le sigue en imponencia, pero superándolo largamente en fama, el Teatro San Pedro&action=edit&redlink=1 "Teatro San Pedro (Porto Alegre) (aún no redactado)"), cuyo proyecto fue elaborado en Río de Janeiro y ejecutado por Felipe de Normann. Inaugurado el 27 de junio de 1858, con capacidad para 700 espectadores y con su decoración en terciopelo y oro, en una época en que Porto Alegre tenía poco más de veinte mil habitantes, es el más antiguo teatro de la ciudad. Sufrió una degradación acentuada y casi fue demolido en los años 70, pero felizmente está recuperado. El Teatro fue concebido con un edificio gemelo, que se levantó del otro lado de la calle, el antiguo Tribunal de Justicia&action=edit&redlink=1 "Palacio de la Justicia (Porto Alegre) (aún no redactado)"), pero este fue consumido por el fuego en los años 50.[7].
Ejemplo típico del Eclecticismo practicado en mediados del siglo es el vasto Mercado Público"), planificado por el ingeniero Frederico Heydtmann") en 1861, pero el diseño cuadrangular fue alterado con ampliación de las dimensiones y adosamiento de torreones en los cantos. La construcción tuvo su piedra fundamental lanzada en 1864, siendo inaugurado en 1869, y sustituyó el mercado anterior, más modesto. El conjunto sufrió modificación substancial en los años 10 con la adición de un segundo piso, preservando sin embargo el estilo.[7] De caracterización estilística semejante son el Museo del Comando Militar del Sur, un edificio de grandes dimensiones, inaugurado en 1867, construido por el maestro de obras Manoel Alves de Oliveira como un anexo del Arsenal de Guerra;[12] el edificio de la 8.ª Circunscripción de Servicio Militar"), erguido sobre una construcción anterior que albergaba los Almacenes Reales, y el Palacio Provisorio, cuyo diseño, del ingeniero Francisco Nunes de Miranda, fue posteriormente modificado por el ingeniero Antônio Mascarenhas Telles de Freitas. Las obras del Palacio Provisorio iniciaron en 1857 y el proyecto incluía soluciones estructurales modernas para la época, como la losa de cobertura con sistema de perfiles en ángulo doble "T " combinado con ladrillos por compresión, formando pequeños arcos.[13] Otro gran edificio ecléctico fue la Casa de Corrección, más tarde demolida, de distribución neoclásica y detalles constructivos que remitían a la arquitectura militar. Pero el ejemplo más monumental del Eclecticismo portoalegrense es el conjunto histórico del Hospital Psiquiátrico San Pedro"), que según los técnicos del IPHAE") es.
• - Curia Metropolitana.
• - Teatro Son Pedro.
• - Mercado Público.
• - Paço Municipal.
The "golden phase" of architecture in Porto Alegre
Of a more ornate eclecticism is the Pazo Municipal de Puerto Alegre"), designed by Giovanni Colfosco, an Italian, and begun in 1898. It would be one of the first architectural examples to exhibit the influence of Positivism, perceived in the complex network of allegories represented in the decorative sculpture of the façade. It would also be one of the first monumental public buildings of what would later come to be called the "golden phase" of architecture. portoalegrense.[1] According to Beatriz Thiesen,.
This desire for renewal brought various novelties to the city's architecture. An enriched bourgeoisie formed mainly by descendants of German immigrants, together with the official spheres, gave the most decisive impulse, commissioning sumptuous works, at a time when the state was experiencing a phase of prosperity, becoming the third largest economy in Brazil.[16] The most important influences that would define the profile of the main buildings erected in that phase were French pompier architecture, with its exuberant decorativeness and ostentatious character, and positivist philosophy, adopted by the government, creating a defined and idealistic iconography reflecting visions of progress, civilization and order. Construction techniques accompanied the development of technology and industry: more extensive structural use was made of reinforced concrete, angle and cement, buildings rose to greater heights, the sculpture of their facades multiplied and more economically appropriate solutions were found for their manufacture, such as cement moulds. They also replace decoration materials, and stained glass windows appear more frequently on the city streets, blacksmith ornaments, parietal paintings with landscapes and ornaments in the interiors, and marbles for columns, floors and other elements.[1].
The most significant names in this phase of building explosion were Theodor Wiederspahn, an architect born in Germany, owner of a powerful and original eclectic style, combining Renaissance, neo-baroque, neoclassical features and a luxurious decorative conception; Rudolf Ahrons, construction engineer, leader of a construction office that carried out the most important works, and Juan Vicente Friedrichs"), owner of the most sought-after and popular local decoration atelier, employing a multitude of local and foreign artisans of solid training, such as Alfred Adloff, Wenzel Folberger"), Alfredo Staege") and many more.[17] The partnership established between them lasted until 1914, when Ahrons' office closed, leaving a large series of large buildings beauty and grandeur, some creating notable architectural feats, such as the building of the old Bopp Brewery&action=edit&redlink=1 "Brahma Brewery Building (Porto Alegre) (not yet written)"), which at its inauguration was the largest reinforced concrete building in Brazil. Wiederspahn is disputed but seems likely. Günter Weimer also attributes the basic layout of the new Metropolitan Cathedral to him, which replaced the old Main Church, although credit for the project is usually given to Giovanni Giovenalle. His work includes more than 500 projects, carried out not only in Porto Alegre. Many of them no longer exist, but several are preserved, preserved by official bodies, such as the Ely Building, the Majestic Hotel, the Forecast of the South"), in addition to more than a dozen mansions requested by the elite of the time. Trades and the first union of architects.[16] Also important was the formulation in 1914 by the Municipal Administration of the , possibly conceived by Juan Moreira Maciel, and considered by Helton Bello the greatest legacy of the positivist administration in urban terms, for being a fundamental instrument for the modernizing transformations that would be consolidated later, supplanting the inherited urban structure and image. colonial.[4][20].
Deco and Modernism
The following generation was adept at Déco, where Fernando Corona, Armando Boni") and Joseph Franz Seraph Lutzenberger stood out. The Déco aesthetic abandons the heavy decorativeness of late Eclecticism in search of solutions with simpler ornamentation and more integrated into the functionality and structure of the spaces, which together with advances in construction techniques, made possible the beginning of the process of verticalization of the city. Their works reflect this new synthesis and a new vision of progress of its beauty related to simplicity, rationality, practicality and structural authenticity, ideals that would be radicalized with the modernists.
The Déco presence was detected between the 20s and 30s, preceding Modernism#Modernist_architecture "Modernism (art)") architectural in the city by more than 10 years.[26].
Corona began as a sculptor, being a student of Friedrichs, but then he ventured into architecture, with good results. He was responsible for the adaptation of the exterior of a project by Wiederspahn for the Banco de la Provincia, currently the Santander Cultural, in addition to his work carried out at the Chaves Gallery and the Flores de la Cunha General Education Institute). throughout Latin America, in addition to several public and private works, such as his own residence"). Lutzenberger came from Germany to work at the construction company Weis & Cia, designing important buildings, such as the Sao José Church "São José Church (Porto Alegre), the Commerce Palace and the Pão de los Pobres Institute"). between the wars, several of them being preserved by the public power.[26][28].
But according to Davit Eskinazi, it was only from the mid-1930s, more precisely after the Farroupilha Centennial Exhibition in 1935, that the first examples of modern architecture began to emerge in the urban scene of Porto Alegre:
In the 1930s the old General Improvement Plan was already obsolete, and the city demanded a new organization. Edvaldo Paiva and Ubatuba de Faria, municipal officials, and Arnaldo Gladosch"), hired from Rio, outlined some attempts to reorganize the central urban ejido according to modern principles, but none were successfully implemented. In parallel, another model for the peripheral and horizontal expansion of the city was devised. Several neighborhoods or urban residential lots created mainly in the 1930s and 1940s proposed a local interpretation of the prototype of the "city garden", with an organic layout of isolated low-scale constructions and dense vegetation, the best examples of which are Vila Jardim, Vila Assunção and Vila Conceição.[20].
A decade later, everything that was previously considered tradition in architecture seemed to have disappeared, and the avant-garde was already working only with basic geometric shapes, stripped of all decorative artifice. The one from 1946 is one of the first buildings erected in Porto Alegre with its typically modernist aesthetic, the Colégio Venezuela, designed by Demétrio Ribeiro, retaining just a few residual features of traditional architecture.[30].
At the same time, Edgar Graeff began to act in the city, trained at the National Faculty of Architecture of the University of Brazil), who maintained some first-hand contacts with the pioneers of Modernism in Brazil. His work induced a more or less general adoption of elements derived from the work of Lúcio Costa, Oscar Niemeyer and other exponents of the Rio school.[31] According to Carlos Goldman,
Another prominent name, who arrived in the city at the same time and with the same training was Carlos Mendonça"), creating a large number of works in less than a decade of activity, some of great size. a now regular flow of new and good professionals in the market.[20] By the 1950s, Modernism was already crowned by officialdom. Emblematic buildings such as the Farroupilha Palace, designed by Gregório Zolko and Wolfgang Schoedon, to function as the headquarters of the Legislative Assembly,[34] and the Porto Alegre Courthouse, a project by Fernando Corona and Carlos Fayet), both the result of public competitions, were built according to totally modernist principles. Among the projects of interest in that phase we can mention the Hipódromo de Cristal and the Explanada Building by the Uruguayan Román Fresnedo Siri;[30] the Fêmina Hospital"), by Irineu Breitman; the old headquarters of the Salgado Filho Airport, by Nelson Souza; the Faculty of Pharmacy of the UFRGS, by Flávio Figueira Soares and Lincoln Ganzo de Castro;[35] and the initial layout of the Hospital de Clínicas"), by Jorge Moreira, which, if it had not been distorted, would later become, according to Marcos da Silva, one of the architectural references of the gaucho capital.[36] At that time the urban center was already full of buildings of considerable height, highlighting Emil Bered and Salomão Kruchin as authors of several residential buildings.[35][37].
Population expansion
The rapid population expansion was beginning to force urban planners to find new large-scale housing solutions. Among the initiatives to solve the problem, the construction of the Passo D'Arena Residential Complex stands out, one of the most successful projects of all those that were carried out at its time, and which was recently declared Cultural Heritage of the municipality.[20][38] By the end of the decade, the first Master Plan of Porto Alegre was implemented, composed by Edvaldo Paiva and Demétrio Ribeiro based on the Charter of Athens, and which was supported by specific legislation (Law 2046/59). For Helton Bello, this Plan accentuated the verticalization of the city, and he says of Porto Alegre:
As an effect of the development of Juscelino Kubitschek and with the addition of a euphoric feeling generated by the "Brazilian Miracle") after the military coup of '64, the Modernism of the Rio school gradually lost space to give way to a brutalist variant originating in São Paulo, which in the mid-1970s was already the dominant trend throughout the country. It offered a vigorous and monumental plastic attachment in a model suitable for the volume and dimension of the works. opportunities offered by the Brazilian Miracle, when the country's GDP grew at a dizzying average of 11.2% annually and the military dictatorship intensified its state policies.[39].
Verticalization accelerated and extensive housing complexes financed by the National Housing Bank were built on the periphery. In the center of the public administration, dramatic interventions were carried out, such as the construction of the Elevada Concepción, but the technical approach to the projects did not consider the elementary aspects of urban landscaping and favored the decharacterization of the historic center, disappearing innumerable eclectic buildings, some of great value, and the remnants of colonial architecture, both residential as public.
Faced with the official nonsense towards the architectural past, some intellectuals began to protest against so many demolitions, launching the seeds for the formation of a preservationist conscience that would slowly gain body among the people of Porto Alegre. And as an irony of the evidence of the contradictions of the government's euphoric program, in that period several favelas began to appear in the empty urban spaces around it, leaving the city isolated from Lake Guaíba and the port that gave it its name, with the construction of an extensive wall to prevent crime.[20].
Aesthetically, the modernist principles remained generally valid, in a unfolding of the Charter of Athens, which was referenced by the new Master Plan of 1979, although some innovations were introduced, such as an inspiration in the model of the "super blocks" used in Brasilia and greater community participation in decisions through the Municipal Councils.[20] The general quality of the buildings, however, declined. On the other hand, academic circles were already beginning a review of Modernism and the influence of Uruguayan architects, which at that time became significant, introducing unprecedented technical resources such as reinforced ceramics.
Some of the most promising works in this period were the Administrative Center of the State of Río Grande do Sul"), carried out by Charles Hugaud, Cairo da Silva and others; the Supply Central, by Carlos Fayet, Carlos Comas and Cláudio Araújo; and the buildings of the Memphis industries, by Araújo and Cláudia Flota.[22].
Contemporaneity
The planning devised in 1979 was not completely successful in its application. Establishing new construction indexes, the constant changes gave rise to a series of frictions between residents of residential areas, public officials and also real estate agents, due to the authorization of new tall buildings in predominantly residential areas, breaking the characteristic landscape of some traditional neighborhoods with buildings up to 20 stories high. The controversy led to a new reformulation of the legislation in the 1980s. It was then that it was definitively understood that a more comprehensive strategy would be necessary not only between architecture and urban planning for a general harmonious growth, but in addition, it was also necessary to attract other areas of knowledge for the constant discussions, and imagine more dynamic, realistic and adaptable solutions to the increasingly fluid profile of society, developing strategic plans based on the axes of urban structuring and mobility, on the forms of use of the private land, in environmental qualification, in economic promotion and in a series of more updated planning criteria.
Always taking into account aspects of collective memory, cultural identity and human coexistence. The success of the proposals in this sense, which followed one another as the years passed, included new revisions of the Master Plan, which at first turned out to be very controversial, with more setbacks than progress. That is why there are still occupation zones that generate some controversies and real estate speculation continues to put pressure on public power always trying to influence decisions, and on the other hand there are also serious problems in the popular housing system to be resolved.[2][22].
At the same time, with the creation in 1981 of the Historical and Cultural Heritage Team, shortly after linked to the Coordination of Cultural Memory of the Municipal Secretariat of Culture, a process of study and rescue of cultural assets owned by the Municipality of special historical, social and architectural interest began, systematizing municipal conservations, which had begun a few years before, in 1979. This action was strengthened by the installation of the IPHAN regional desk, taking care of national interests in the area of historical heritage throughout the state, and also with the State Historical and Artistic Heritage Coordinator, predecessor of IPHAE"), both established in 1979, institutions that have been carrying out various conservation and preservation actions in the city at the federal and state level. neighborhoods of the "garden city" and areas of special cultural interest.[20] A new awareness of the preservation of old buildings and green areas was then born, and with this many secular buildings that were on the demolition list were saved.[2] This is the case of the Bonfim Chapel&action=edit&redlink=1 "Our Lord Jesus of Good End Chapel (Porto Alegre) (not yet written)") exemplary in that sense. abandonment and degradation it caught fire, and to this day it is believed that it was a fire of criminal origin. Important elements such as the carved main altar were lost, and under the pretext of being very ruined it was almost demolished, but society reacted, and all the subsequent controversy contributed to marking on the conscience of everyone, citizens and public power, the value of memory, art, history and its material testimonies. 1983.[44].
Meanwhile, the actions of official bodies for the preservation of historical heritage are still frequently halted by contrary particular interests, by the delay in protection processes and by a constant budget insufficiency. Thus, although the work in this sense has advanced a lot, with the intensification of municipal actions and the recent census of more than 130 properties in the historic center by the Monumental Program"), of the Ministry of Culture&action=edit&redlink=1 "Ministry of Culture (Brazil) (not yet drafted)"), it is worrying that the public authorities have taken so long to protect some buildings of great importance such as the Concepción church and the Cathedral-Cúria complex (demolished in the 2007 and 2009 respectively). Among other properties that were already listed as protected but that were demolished despite the laws, we must also add the problem of a large number of historic buildings that still do not receive official protection[45][22][46][47][48].
In aesthetic terms, in recent decades, the decline of the modernist school and its replacement by the values of Postmodernism has been verified, re-reading pre-modernist historical styles and creating a new census of eclecticism, freedom and formal democracy. The most paradigmatic examples of this trend are the controversial shopping centers that in recent years have invaded the landscape, many of them with daring formal solutions, extravagant decoration and a high-tech spirit, but whose taste and relevance for the landscape are sometimes placed under suspicion. Some critics refuse to recognize a truly alive architecture in the present of Porto Alegre and do not find more works that have this background of cultural references and urban frameworks and denounce an identity crisis in the new structures of the place. But for others, the high level of debate on architectural issues attracts international personalities and the success of projects to revitalize old areas and structures, such as the creation of the DC Navegantes Shopping Center and the Nueva Olaria Shopping Center by local architects and the work in the city of renowned foreign designers, such as Álvaro Siza, responsible for the Iberê Camargo Foundation building, considered a masterpiece, are enough to indicate that the architecture of Porto Alegre maintains considerable dynamism and is integrated into what happens in the rest of the world.[3][22][49][50] This most recent phase of the evolution of Porto Alegre architecture is, however, still lacking in more in-depth study and documentation, with qualified publications being scarce.[51].
• - Headquarters of the Vivo telephone company.
• - Iberê Camargo Foundation.
• - Mostardeiro Business Center.
• - Bourbon Shopping Country.
• - Mercure Building.
• - Shopping Praia de Belas.
• - Favela pocket at the entrance of the city.
• - Popular housing complex of Villa de los Papeleiros, where a few years ago there was a favela.
• - Wikimedia Commons hosts a multimedia category on Architecture of Porto Alegre.
• - History of Porto Alegre.
• - Culture of Porto Alegre").
• - Architecture of Brazil.
• - Historical buildings of Porto Alegre").
• - This work contains an automatic translation derived from «Arquitetura de Porto Alegre» from Wikipedia in Portuguese, specifically from this version, published by its editors under the GNU Free Documentation License and the Creative Commons Attribution-ShareAlike 4.0 International License.
References
[1] ↑ a b c d Doberstein, Arnoldo Walter. Escultura y Ideologia: Porto Alegre 1900-1920. Porto Alegre: SMC, 1992.
[4] ↑ a b c d e f Macedo, Francisco Riopardense de (1999). Porto Alegre: Origen y Crecimiento (en portugués de Brasil). Porto Alegre: Prefeitura Municipal.
[19] ↑ Weimer, Günter. Construtores Italianos en Rio Grande do Sul. In Dal Bó, Juventino; Iotti, Luiza Horn & Machado, Maria Beatiz Pinheiro (orgs). Inmigración Italiana y Estudios Ítalo-BRasileiros: Anais del Simpósio Internacional sobre Inmigración Italiana y IX Fórum de Estudios Ítalo-Brasileiros. Caxias del Sur: EDUCS, 1999. p.347.
[29] ↑ Eskinazi, Davit. La arquitectura de la exposición conmemorativa del centenario de la Revolución Farroupilha de 1935 y las bases del proyecto moderno en el Rio Grande do Sul. Porto Alegre: UFRGS, 2003.
[30] ↑ a b Almeida, Guilherme Essvein de. Arquitectura Moderna en Porto Alegre: del arcaísmo al barroco. Jornada de Encuesta y Extensión, 2008. ULBRA/Santa Maria.
[31] ↑ a b Goldman, Carlos Henrique. A casa moderna en Porto Alegre. UFRGS, 2004.
[37] ↑ Eneida Ripoll Ströher. La vivienda colectiva en la obra del arquitecto Emil Bered, en la década de 50, en Porto Alegre. UFRGS, 1998.
[38] ↑ Degani, José Lourenço. Tradición y modernidade en el ciclo de los IAPs, el conjunto residencial del Passo D'Arena y los proyectos modernistas en el contexto de la vivienda popular de los años 40 en el Brasil. UFRGS, 2004.
[44] ↑ Cadernos de Restauro II: Capilla Nuestro Señor Jesús del Bueno Fin. Porto Alegre: Prefectura Municipal, 1989.
[45] ↑ Un patrimonio para tener orgulho (enlace roto disponible en Internet Archive; véase el historial, la primera versión y la última).. Clipping Cultural del Memorial del Ministerio Público, 26/03/2008.: http://www.mp.rs.gov.br/memorial/clips/id13722.htm
[51] ↑ Marques, Sergio Moacir. Documentación y conservación: El nuevo velho problema de la encuesta en arquitectura (moderna) Archivado el 12 de junio de 2009 en Wayback Machine.. Facultad de Arquitectura y Urbanismo UniRitter, sd.: http://www.uniritter.edu.br/w2/arquitetura/acervo/Artigo.pdf
General Improvement Plan
Manoel Itaqui, one of the introducers of Art Nouveau, cannot pass without being remembered, designing several buildings on the central campus of UFRGS such as the Castelinho and the Astronomical Observatory, in addition to the former headquarters (disappeared) of the Júlio de Castilhos College and the Otávio Roca Viaduct, this one in association with Duilio Bernardi; Hermann Menschen"), author of the UFRGS Law Faculty and several elegant residences such as Casa Godoy");[21] Francesco Tomatis, designer of one of the few purely Art Nouveau buildings in the city, the Carvalho Pharmacy; Affonso Hebert"), whose most notable work is the State Public Library "Biblioteca Pública del Estado (Porto Alegre)"),[22] and finally the Frenchman Maurice Gras, author of just one project in the city, but of great relevance, the Piratini Palace, current headquarters of the State Government and official residence of the governor.[7] Some examples in particular could also be cited for being unique in their kind, such as the Rocco Confectionery, with its atlantes "Atlante (architecture)") monumental, the Torelly House"), for its Renaissance delicacy, the Bonfim Chapel&action=edit&redlink=1 "Our Lord Jesus of Good End Chapel (Porto Alegre) (not yet written)"), for its late neoclassicism, simple but pure; the old Army Headquarters, an exotic case of Moorish and medieval influence; the Palmeiro and Argentina palaces for their opulence; the Bank of the Province, for its majesty and wealth, and its stained glass windows; and the Gasómetro Plant as well as the aforementioned Bopp Brewery&action=edit&redlink=1 "Brahma Brewery Building (Porto Alegre) (not yet written)") as representatives of industrial architecture; designed by Ahrons, a vast public work that cost several decades of work and represented an immense effort by the government and local society, at the beginning of the century, towards urban modernization and economic development. The structures erected also established new standards of hygiene, functionality and aesthetics for civil construction, being particularly notable the large central iron portico and the removable side warehouses, which were imported from France.[24].
Two last aesthetic elements that further increased the diversity of Porto Alegre eclecticism were the Neo-Gothic and Art Deco. The first was restricted only to the religious sphere. Present in the city since the middle of the century, its first manifestations were discreet - a small chapel in the Plaza de la Principal, the Empire of the Holy Spirit, and the modified balustrades of the Metropolitan Cúria. The style only gained visibility during construction, at the beginning of the century, with the creation of several important temples: the neo-Gothic reform of the Chapel of the Steps, already mentioned, the Church of Navegantes&action=edit&redlink=1 "Church of Our Lady of the Navigators (Porto Alegre) (not yet written)"), the church of Santa Teresinha") which is the purest and most refined, designed by Frei Cyríaco de San José, the Cathedral Anglican&action=edit&redlink=1 "Cathedral of the Santíssima Trindade (Porto Alegre) (not yet drafted)"), the Central Methodist Church&action=edit&redlink=1 "Central Methodist Church (Porto Alegre) (not yet drafted)"), and the Church of St. Peter&action=edit&redlink=1 "Church of St. Peter (Porto Alegre) (not yet drafted)"), of all the most impressive, designed by Juan Hruby.[5][11][25].
• - Piratini Palace.
• - Rocco Confectionery.
• - Santander Cultural.
• - Gasometer Plant.
• - Carvalho Pharmacy.
• - Mauá Pier.
• - Passage of the Venezians.
• - Interior of the church of Santa Teresinha.
General Improvement Plan
Manoel Itaqui, one of the introducers of Art Nouveau, cannot pass without being remembered, designing several buildings on the central campus of UFRGS such as the Castelinho and the Astronomical Observatory, in addition to the former headquarters (disappeared) of the Júlio de Castilhos College and the Otávio Roca Viaduct, this one in association with Duilio Bernardi; Hermann Menschen"), author of the UFRGS Law Faculty and several elegant residences such as Casa Godoy");[21] Francesco Tomatis, designer of one of the few purely Art Nouveau buildings in the city, the Carvalho Pharmacy; Affonso Hebert"), whose most notable work is the State Public Library "Biblioteca Pública del Estado (Porto Alegre)"),[22] and finally the Frenchman Maurice Gras, author of just one project in the city, but of great relevance, the Piratini Palace, current headquarters of the State Government and official residence of the governor.[7] Some examples in particular could also be cited for being unique in their kind, such as the Rocco Confectionery, with its atlantes "Atlante (architecture)") monumental, the Torelly House"), for its Renaissance delicacy, the Bonfim Chapel&action=edit&redlink=1 "Our Lord Jesus of Good End Chapel (Porto Alegre) (not yet written)"), for its late neoclassicism, simple but pure; the old Army Headquarters, an exotic case of Moorish and medieval influence; the Palmeiro and Argentina palaces for their opulence; the Bank of the Province, for its majesty and wealth, and its stained glass windows; and the Gasómetro Plant as well as the aforementioned Bopp Brewery&action=edit&redlink=1 "Brahma Brewery Building (Porto Alegre) (not yet written)") as representatives of industrial architecture; designed by Ahrons, a vast public work that cost several decades of work and represented an immense effort by the government and local society, at the beginning of the century, towards urban modernization and economic development. The structures erected also established new standards of hygiene, functionality and aesthetics for civil construction, being particularly notable the large central iron portico and the removable side warehouses, which were imported from France.[24].
Two last aesthetic elements that further increased the diversity of Porto Alegre eclecticism were the Neo-Gothic and Art Deco. The first was restricted only to the religious sphere. Present in the city since the middle of the century, its first manifestations were discreet - a small chapel in the Plaza de la Principal, the Empire of the Holy Spirit, and the modified balustrades of the Metropolitan Cúria. The style only gained visibility during construction, at the beginning of the century, with the creation of several important temples: the neo-Gothic reform of the Chapel of the Steps, already mentioned, the Church of Navegantes&action=edit&redlink=1 "Church of Our Lady of the Navigators (Porto Alegre) (not yet written)"), the church of Santa Teresinha") which is the purest and most refined, designed by Frei Cyríaco de San José, the Cathedral Anglican&action=edit&redlink=1 "Cathedral of the Santíssima Trindade (Porto Alegre) (not yet drafted)"), the Central Methodist Church&action=edit&redlink=1 "Central Methodist Church (Porto Alegre) (not yet drafted)"), and the Church of St. Peter&action=edit&redlink=1 "Church of St. Peter (Porto Alegre) (not yet drafted)"), of all the most impressive, designed by Juan Hruby.[5][11][25].