[pt] O Movimento Moderno da arquitetura afirmou-se nas primeiras décadas do século XX como proposta de ruptura radical com o passado, desejando instaurar uma nova estética afinada com o espírito da era industrial. Sem desconsiderar as profundas transformações que a nova linguagem operou na arquitetura, este trabalho busca investigar os possíveis diálogos entre obras modernas e a tradição clássica, tendo em vista edifícios de arquitetos brasileiros. A discussão insere-se no debate recente da historiografia brasileira, que busca abordar a arquitetura moderna sob seus múltipos aspectos, valorizando as qualidades ambivalentes que tornam as obras mais complexas e interessantes, como já vem fazendo há mais tempo a crítica internacional, sobretudo com as interpretações que apontam para as relações de Le Corbusier com a tradição clássica. Dentre as obras destacadas na análise estão a sede do Ministério da Educação e Saúde do Rio de Janeiro (1936), de Lucio Costa e equipe, com consultoria de Le Corbusier; os palácios de Brasília de Oscar Niemeyer (Alvorada, Planalto e Supremo Tribunal Federal, 1957-58); e o edifício da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (1962-69), de Vilanova Artigas. A escolha de exemplos representativos e ao mesmo tempo variados da produção brasileira permite compreender as diversas formas com que a arquitetura moderna se relacionou com a tradição clássica, especialmente nos momentos em que desejou corporificar nos edifícios os ideais emblemáticos de seu tempo histórico. / [en] The Modern Movement in Architecture gained ground in the first decades of the 20th Century as a proposal of radical rupture with the past, willing to establish a new aesthetic in tune with the spirit of the industrial era. Not wanting to disregard the deep changes which the new language produced in architecture, this dissertation aims to investigate the possible dialogues between modern works and classical tradition, having in mind buildings of Brazilian architects. The discussion is inserted in the recent debate of Brazilian historiography, which intends to approach the modern architecture taking into account its multiple aspects, highlighting ambivalent qualities which make the works more complex and interesting, as the international critic has been showing for some time, especially with the interpretation that points to the relations between Le Corbusier and the classical tradition. Among the works distinguished in this analysis are the headquarters building of Ministério da Educação e Saúde do Rio de Janeiro (Education and Health Department of Rio de Janeiro, 1936), by Lucio Costa and his team, with consultancy of Le Corbusier; the palaces of Brasília by Oscar Niemeyer (Alvorada, Planalto and Supreme Federal Court, 1957-58) 1957-58) Court and the building of the FAU/USP (College of Architecture and Urbanism of São (College of Architecture and Urbanism of São Paulo University, 1962- 69), by Vilanova Artigas. The choice of representative and, at the same time, varied examples of the Brazilian production allows us to understand the different forms with which the Modern Architecture has established relations with the classical tradition, especially when it aimed to embody in the buildings the emblematic ideals of its historical time.

El propósito de este estudio es abordar el concepto de espacio y, en particular, su desocupación, a través de tres obras: Caja Vacía/Metafísica de Jorge Oteiza, Who´s afraid of red, yellow and blue de Barnett Newman y el Pabellón de Alemania de Ludwig Mies van der Rohe. El discurso se construye a través de un transitar sobre la banda de Moebius y en su vaivén y en su doblez aparecen y desparecen imágenes, ideas y textos sobre los que fluye la voluntad de construir una interpretación nueva sobre el objeto descrito. Martin Heidegger, Gilles Deleuze y Gaston Bachelard son los tres sostenes teóricos de esta estructura. Y más cerca y más lejos de este texto siempre se mantiene la difícil tarea de entender cuál es la forma de habitar y de ser (Ich bin) del hombre en la tierra. / The purpose of this study is to address the concept of space and, in particular, its disoccupation through three different pieces of work: Empty/Metaphysical Box by Jorge Oteiza, Who´s afraid of red, yellow and blue by Barnett Newman and German Pavilion by Ludwig Mies van der Rohe. The discourse is constructed through a move on the Moebius band, its swing and double apparition and disappearance of images, ideas and texts which build a new interpretation of the subject matter. Martin Heidegger, Gilles Deleuze and Gaston Bachelard are the three theorists of this structure. The difficult task of understanding what is the way of living and being of man (Ich bin) on earth always remains what is closer and further away from this text.

ARCHITECTURE The centre and entrance point for atrection a relx is terace with pool, with corridor to cafe and skylights that leads to reception. Around this atrium, there is a ramp, rising up. Pools are not see n ko the screens are individual attractions, atmosphere. The height change of each pool, sauna and whether this involves physical effort is rewarded with open views to the surroundings and relax themselves. Entering the building through a covered, but bright bay, passage is a continuation of the street fishing. Thus the very end of the reception side. Thus eliminate the problem of a parcel which is like a scene out of town. Layout In the passages suggest leaving the car park, Kafe-bar with a simple menu and fresh multifunctional workshop, creative playground. It is known fact, that in the old spa locations to find valuable pieces of pottery, small painting and sculpture and other artifacts that speak of links with the vivacious work, relax, relax with a manual and spiritual. This room will also serve as a nursery for parents resting in the spa, in the specified date and time. Upon entering the spa itself, the reception with high ceilings and skylights from the terrace, the visitor to the issue of changing rooms with bathroom facilities. Consequently, the choice whether to receive the attractions, or go down to the fitness center or gym. Another option is to move the spa itself. In the direction from the top down it is pliable dough, the blood will get the opposite route, in which the visitor shall issue a physical effort. 2np In addition to coffee for guests only and exit to the terrace, and massage booths are located. Much of the area occupied by the technical room, spa bath as well as administration. On the next floor guest vystkytne a larger foyer, drinking KURO room and swimming and first aid. Glass facades can be glanced only in forests of the Riviera, but the atrium, with an outdoor terrace and heated swimming pool at all times. Foyer is the actual beginning of the journey. The first ramp is rising just from my father. All the dark hallway, followed by a bright and translucent glass facades. The key is just a wall bordering the ramps and a few additional columns for the perimeter of the building. About half a meter above (and always rises only about 500 mm, the gradient of 1:16 to 8 meters length), the visitor gets to the first pool. Sunny southern facade is designed as a double, at this point is the greenhouse, it is no wonder that the first two pools are linked to breathing, inhalation, nature herbs. The hall (+7400) is glass mat glass sanitary unit consisting of two toilets, toilets for disabled people and installation bay. On one front wall of the shower. This element is repeated, the cabin is only 2.6 meters high (sv room is 3.65 meters), it was acting to hinder lightweight and transparent. On the left side counterclockwise overcomes next ramp stages. Pools are right to counter a výrivý. In this part of the facade facing the street catchment area, the intersection of fishing and of 8 m of pools have already seen the two interface Brno: Petrov and Špilberk. There is also a visitor gets to escape-connecting staircase. Possibility of shortening the path to the sauna is right here. The following pool of options in turn draws the double facade. Studenúuvodu make cold, shielded, north-facing environment. Hot pool at a height level of hygiene cab ...