LúcioCosta

In the 1930s, a new phase of Modernism began, and in architecture, Lúcio Costa emerged as one of the main figures responsible for spreading the style throughout the country.

Graduating in architecture from the National School of Fine Arts (ENBA) in the early 1920s, Lúcio Costa was a follower of the neocolonial style until 1930, when he discovered the "Modernist House" by architect Gregori Warchavchik in São Paulo; he gained access to the work of the Swiss Le Corbusier and "converted" to Modernism.

The Modernist House on Rua Santa Cruz (SP), by Gregori Warchavchik. Source: Archdaily

Image description: The image is a black-and-white photograph of a modernist building. On the left side, we see part of the building with large windows and an entrance. In front, there are low plants and cacti. In the center and on the right, the main building has three floors with balconies covered by awnings. The windows are rectangular and have metal grilles. At the top, there are more, smaller windows. The surrounding landscape is simple, with grass and a few trees.

In 1931, Lúcio Costa stopped working as a public works advisor for Itamaraty - a position he had held the previous year - and took over the direction of ENBA. In an attempt to restructure the institution and modernize its teaching, he hired professors aligned with Modernism for the faculty, among them Warchavchik, with whom he was also a partner until 1933 in a construction company.

As director, he organized one of the traditional General Exhibitions of Fine Arts, an event that came to be called the National Salon of Fine Arts starting in 1933. The edition organized by Costa became known as the Revolutionary Salon and featured the participation of important modernist artists, such as Tarsila do Amaral, Di Cavalcanti, and Anita Malfatti. Facing resistance to his positioning, his conflict-ridden administration at ENBA came to an end in September 1931, before the Revolutionary Salon had closed.

Article in Diário da Noite, Rio de Janeiro - 09/01/1931. Source: Universidade de São Paulo

Image description: This image is a black-and-white photograph of two individuals in an indoor setting. At the top, there is a highlighted text mentioning the "XXXVIII Fine Arts Exhibition." Below it, another line refers to the solemn opening of the first revolutionary "Salon." The figure on the left is seated, wearing a dress with decorative details on the sleeves. The figure on the right is standing, wearing a dark suit. Both are in a setting lit by natural light, possibly coming from windows behind them.

After leaving ENBA, Lúcio Costa resumed his career outside the academy. He was one of the first mentors of Oscar Niemeyer and worked with the architect on important projects, such as Palácio Capanema (1937) and Brasília (1956). At the invitation of then-president Juscelino Kubitschek, Lúcio Costa was responsible for the urban plan of the new capital, while Niemeyer was responsible for the architectural design of the public buildings.

He authored other notable projects, such as the Master Plan for Barra da Tijuca (1969), and, starting in 1937, worked at Sphan (now Iphan), in the field of heritage preservation and restoration until retiring in 1972.

Facade of one of the residential buildings of Parque Guinle, designed by Lúcio Costa between the 1940s and 1950s. Photo by Nelson Kon. Source: Archdaily

Image description: The image is a photograph of a residential building with many windows and balconies. The spatial arrangement begins on the left, where there are trees and a car parked on the street. In the center, the building has several balconies with blue railings. On the right, more trees can be seen. The building has several floors, all with large, regularly spaced windows.

Despite his important work in the field of preservation, Lúcio Costa was a major advocate for the demolition of the Palácio Monroe (1976). This fact is addressed in the film "Crônica da Demolição," produced by Eduardo Ades, in 2015.