Caminhos de uma arquitetura: obra e trajetória de Antônio Lúcio Ferrari Pinheiro
This research consists of an analysis of the architect Antônio Lúcio Ferrari Pinheiro’s (1939-) work and trajectory. It is an observation on the historiography of modern Brazilian architecture, through the context investigation of this architect’s production, reconstructing his professional path fro...
| Autor: | |
|---|---|
| Formato: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | Brasil |
| Recursos: | Universidade Federal de Goiás (UFG) |
| Repositorio: | Repositório Institucional da UFG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.bc.ufg.br:tede/9817 |
| Acesso em linha: | http://repositorio.bc.ufg.br/tede/handle/tede/9817 |
| Access Level: | acceso abierto |
| Palavra-chave: | Antônio Lúcio Ferrari Pinheiro Arquitetura moderna brasileira Goiânia Brazilian modern architecture CIENCIAS SOCIAIS APLICADAS::ARQUITETURA E URBANISMO |
| Resumo: | This research consists of an analysis of the architect Antônio Lúcio Ferrari Pinheiro’s (1939-) work and trajectory. It is an observation on the historiography of modern Brazilian architecture, through the context investigation of this architect’s production, reconstructing his professional path from graduating (1959-1963) to the establishment in the city of Goiânia (1968), region where most of his projects and works are registered. The research scope is the observation of the whole of this architecture dating from the years 1964 to 1989. The House of the Architect (1967-1976) is the inflection point of the analyzes undertaken, since it is the synthesis of the discourse by the tectonic character, the approximation with Brutalist Architecture from the São Paulo School (ZEIN, 2005) and the prototypical question of the formal structure. It refers to an exploratory research, of the documentary type using primary and secondary sources, whose building is the main document, the starting point to formulate the propositions and the necessary cutouts for understanding the object. Thus, a gap is filled in the history of Brazilian architecture; a new character is inserted with a significant production that deserves recognition and appreciation as a cultural product of brazilian modern. |
|---|