Edited by Fernando Serapião, Guilherme Wisink. Text by Adrián Gorelik, Daniele Pisani, Jean-Louis Cohen, Ana Vaz Milheiro, Diego de Souza, Ana Luiza Nobre, Wellington Cançado.
In architecture, a span is something to be conquered, a challenge to be overcome. But span, or vão in Portuguese, also means a project or an action that ends in failure: something that was done in vain. In Brazil, modernization was touted as a leap over the country’s history, cast as “backwardness,” and, in the case of modern architecture, over what seemed to be an absent artisanal tradition and classical past. This was a lot of ground to cover—a challenge met head-on by an ambitious aesthetic avant-garde, invested in new design and remarkable engineering. Brazil is a country “condemned to the modern,” said the critic Mário Pedrosa, conceiving this condemnation as a kind of liberation—a liberation from tradition, and a freedom to transform what could be done in vain (em vão) in the effective cultural conquest of the free span (vão livre). For Brazilian architects, vão is almost always a synonym for freedom. Infinite Span: 90 Years of Brazilian Architecture assembles representative projects and works of Brazilian architecture made between 1920 and 2018. It creatively juxtaposes projects and proposes dialogues between them, and highlights intersections between architecture and music, literature, cinema and performing arts. The importance of these cross-disciplinary exchanges is evidenced in the book’s structure, which is broken up into six chronological and thematic modules with titles corresponding to songs from each period.
Featured image is reproduced from 'Infinite Span: 90 Years of Brazilian Architecture.'
in stock $50.00
Free Shipping
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
NEW YORK Showroom by Appointment Only 75 Broad Street, Suite 630 New York NY 10004 Tel 212 627 1999
LOS ANGELES Showroom by Appointment Only
818 S. Broadway, Suite 700 Los Angeles, CA 90014 Tel. 323 969 8985
ARTBOOK LLC D.A.P. | Distributed Art Publishers, Inc.
All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.
The D.A.P. Catalog www.artbook.com
Distributed by D.A.P.
FORMAT: Hbk, 8.25 x 10.75 in. / 416 pgs / 400 color. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $69.95 ISBN: 9783037785898 PUBLISHER: Lars Müller Publishers/Casa da Arquitectura AVAILABLE: 7/23/2019 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by Lars Müller Publishers/Casa da Arquitectura. Edited by Fernando Serapião, Guilherme Wisink. Text by Adrián Gorelik, Daniele Pisani, Jean-Louis Cohen, Ana Vaz Milheiro, Diego de Souza, Ana Luiza Nobre, Wellington Cançado.
In architecture, a span is something to be conquered, a challenge to be overcome. But span, or vão in Portuguese, also means a project or an action that ends in failure: something that was done in vain.
In Brazil, modernization was touted as a leap over the country’s history, cast as “backwardness,” and, in the case of modern architecture, over what seemed to be an absent artisanal tradition and classical past. This was a lot of ground to cover—a challenge met head-on by an ambitious aesthetic avant-garde, invested in new design and remarkable engineering.
Brazil is a country “condemned to the modern,” said the critic Mário Pedrosa, conceiving this condemnation as a kind of liberation—a liberation from tradition, and a freedom to transform what could be done in vain (em vão) in the effective cultural conquest of the free span (vão livre). For Brazilian architects, vão is almost always a synonym for freedom.
Infinite Span: 90 Years of Brazilian Architecture assembles representative projects and works of Brazilian architecture made between 1920 and 2018. It creatively juxtaposes projects and proposes dialogues between them, and highlights intersections between architecture and music, literature, cinema and performing arts. The importance of these cross-disciplinary exchanges is evidenced in the book’s structure, which is broken up into six chronological and thematic modules with titles corresponding to songs from each period.
