Architectural competitions are no longer simply professional praxis for architects and a recurrent exercise for students at schools of architecture. The competition has also turned into a field of research, and this book is part of an effort constituting the architectural competition as a field for studies with scholarly claims. The first doctoral dissertations on competitions were presented in the 1990s in Europe. Another clear manifestation of research interest is the growth and spread of scholarly conferences on architectural competitions.   The contributions to the book show in a convincing way that the architectural competition is an interesting and rewarding object for research. The competition processes bear rich empirical findings to which one may refer for knowledge about architecture as professional practice, as educational subject and research platform. The architectural competition illustrates processes of change in society that are technical and organizational as well as social; it shows up constructive dilemmas, the borderline of rationality and the relative, creative insecurity of knowledge production in architectural projects. / <p>QC 20130610</p>

This is a study of architectural competitions as they engage with the design practices of architects within the UK and Europe. Since only one firm or one design emerges at the end, and the project programme exists prior to the submissions, there tends to be a gap between programme and practice, past and future, language and situation. It is the aim of this research to investigate what changes in our understanding of architectural practice when we acknowledge that architects work to linear programmes and submit deliverables within the set of relations that make up the competition. In conducting this research I address a gap in the social scientific understanding of architectural practice. While ethnographies of architectural studios have described the way design emerges through an interplay of humans and nonhumans, formats or structures like the competition have not yet become analytical categories in the ethnographic literature. To bridge what seems like a gap between the immaterial world of the competition and the material world of the studio, I draw from actor-network theory to view the competition as a set of relations that include objects and practices. Considering the technology of the competition, I follow five different strands of research. I identify the matters of concern that architects talk about when they talk about competitions; examine the documents involved in administering a competition; follow an atelier at an architectural school where students participate regularly in competitions; observe the Office of Metropolitan Architecture prepare a concept design; and visit an exhibition of submissions. Here I describe the ways in which competitions come together within the practice of architects. This study makes three contributions. First, the study adds to our understanding of architecture as a set of relations, rather than a stable identity. The second contribution has to do with language and practice, demonstrating that ‘big’ categories like ‘building’ nevertheless act within collectives of architects, clients, contractors and so on. A final implication is for methods. Since certain categories exist between sites, organising the activity of actors in different offices across what might be hundreds of miles, ethnographic fieldwork on architecture can become fragmented and multi-sited. The implications of the architectural competition for an ethnographic understanding of architectural practice, then, are to see more and ‘bigger’ collectives within the lives of architects.

Este trabalho busca lançar um novo olhar sobre momentos relevantes da história dos concursos de arquitetura no Brasil, partindo da premissa de que concursos são eventos que geram interesse por conterem um tipo de informação que reflete cada momento específico da produção arquitetônica. Discute a importância da representação no desenvolvimento do projeto arquitetônico, o papel do material gráfico na propagação de conceitos, assim como a supervalorização do discurso e da imagem e a inversão de valores que tal processo acarreta. Identifica, neste contexto, a existência de uma gramática específica nos projetos desenvolvidos para concursos, na qual a relação entre texto e desenhos assume características peculiares. Coloca a questão de como estes eventos geram uma discussão crítica e de que maneira este material torna-se referência para a formação de conhecimento específico na área. Para tanto, seu conteúdo está organizado em três momentos. O primeiro estabelece um arcabouço conceitual e define uma metodologia para análise dos projetos coletados. O segundo consiste na análise de três eventos fundamentais de nossa historiografia: o concurso para o Plano Piloto de Brasília (1956) um dos acontecimentos essenciais para a arquitetura brasileira e marco na história dos concursos; o do Pavilhão de Osaka (1969) representante de um período de afirmação de um discurso e parte fundamental da trajetória do movimento moderno brasileiro; e o concurso para o Pavilhão de Sevilha (1991) - evento polêmico e de repercussão expressiva, que caracteriza um atribulado período de transição cultural. Após a análise destes eventos de formação, o trabalho altera seu foco e, em seu terceiro momento, traça a trajetória construída desde a realização do concurso para Sevilha até os dias de hoje. Seguindo esta narrativa panorâmica, discute um evento contemporâneo, o concurso para o Museu da Tolerância da USP (2005), para, a partir do arcabouço gerado pelo estudo dos momentos de formação e seu rebatimento neste evento, abordar o contexto atual. Nas conclusões, o trabalho trata da identificação de uma retórica da representação expressa no conjunto de desenhos e textos analisados e discute a mensagem específica que cada desenho carrega e sua influência no desenvolvimento dos projetos. Confronta a democratização de meios com a especialização dos concorrentes e questiona a acessibilidade às técnicas de representação em contraponto à dificuldade de lançar mão dos recursos disponíveis sem cair na gratuidade. Como segundo ponto discute o valor dos textos que acompanham os desenhos, encarados como fios condutores da opção retórica, e identifica as diferentes posturas adotadas pelos autores. A última questão colocada diz respeito ao papel didático dos eventos enquanto momentos de reflexão crítica e discute a permanência das idéias, os elementos de formação de repertório e sua influência no campo da educação. A pesquisa conclui sua argumentação defendendo a leitura deste conjunto de trabalhos a partir do resgate de documentos que podem revelar aspectos fundamentais para o retrato de uma época e a formação de um conjunto de valores. / This research pursuits a new understanding on relevant moments of the history of architectural competitions in Brazil, by the premise that these are events that render interest for they provide a kind of information that reflects each specific moment of the architectural production. It discusses the importance of representation in the development of the architectural design, the role of graphic material for the transmission of concepts, as well as the overvaluation of discourse and image and the inversion of values that it causes. In this context, it identifies the existence of a specific language in projects developed for competitions, in which the relation between texts and drawings assume peculiar characteristics. It sets the question of how these events generate a critical discussion and how the produced material becomes reference to the formation of specific knowledge in the subject. For that purpose, its content is organized in three moments. The first one establishes a conceptual basis and defines a methodology for the analysis of the collected projects. The second moment consists of an analysis of three fundamental events of our historiography: the Brasilia Urbanization Plan competition (1956) one of the essential realizations for the Brazilian architecture and the history of competitions; the Osaka Pavilion competition (1969) representant of a period of affirmation of a discourse and important part of the Brazilian Modern Movement development; and the Seville Pavilion competition (1991) a polemic event with an expressive repercussion, which characterizes a turbulent period of cultural transition. Following the analysis of theses events of formation the research changes its focus and, in its third part, traces a panorama of realizations from the Seville competition to nowadays. After that, it discusses a contemporary event, the USP Tolerance Museum competition (2005), in order to, from the basis generated by the study of the formation events and its reflections on the recent one, establish an approach to the current context. In the conclusions the research treats of the identification of a representational rhetoric expressed in the analyzed collection of drawings and texts and it discusses the specific message contained in each drawing and its influence in the development of the projects. It confronts the democratization of means with the contestants\' specialization and questions the accessibility to the representation techniques in counterpoint to the difficulty of exploring the available resources avoiding loosing consistence. As a second point, it discusses the values of the texts that accompany the drawings, faced as main conductors of the rhetorical option, and it identifies different strategies adopted by the authors. The last question is about the didactic role of the events while moments of critical reflection and it discusses the permanence of ideas, the formation of repertoire elements and its influence in the field of education. The research concludes its argumentation defending the understanding of the collection of works based in the rescue of documents that may reveal fundamental aspects to the portrait of an era and the formation of our values.

Este trabalho busca lançar um novo olhar sobre momentos relevantes da história dos concursos de arquitetura no Brasil, partindo da premissa de que concursos são eventos que geram interesse por conterem um tipo de informação que reflete cada momento específico da produção arquitetônica. Discute a importância da representação no desenvolvimento do projeto arquitetônico, o papel do material gráfico na propagação de conceitos, assim como a supervalorização do discurso e da imagem e a inversão de valores que tal processo acarreta. Identifica, neste contexto, a existência de uma gramática específica nos projetos desenvolvidos para concursos, na qual a relação entre texto e desenhos assume características peculiares. Coloca a questão de como estes eventos geram uma discussão crítica e de que maneira este material torna-se referência para a formação de conhecimento específico na área. Para tanto, seu conteúdo está organizado em três momentos. O primeiro estabelece um arcabouço conceitual e define uma metodologia para análise dos projetos coletados. O segundo consiste na análise de três eventos fundamentais de nossa historiografia: o concurso para o Plano Piloto de Brasília (1956) um dos acontecimentos essenciais para a arquitetura brasileira e marco na história dos concursos; o do Pavilhão de Osaka (1969) representante de um período de afirmação de um discurso e parte fundamental da trajetória do movimento moderno brasileiro; e o concurso para o Pavilhão de Sevilha (1991) - evento polêmico e de repercussão expressiva, que caracteriza um atribulado período de transição cultural. Após a análise destes eventos de formação, o trabalho altera seu foco e, em seu terceiro momento, traça a trajetória construída desde a realização do concurso para Sevilha até os dias de hoje. Seguindo esta narrativa panorâmica, discute um evento contemporâneo, o concurso para o Museu da Tolerância da USP (2005), para, a partir do arcabouço gerado pelo estudo dos momentos de formação e seu rebatimento neste evento, abordar o contexto atual. Nas conclusões, o trabalho trata da identificação de uma retórica da representação expressa no conjunto de desenhos e textos analisados e discute a mensagem específica que cada desenho carrega e sua influência no desenvolvimento dos projetos. Confronta a democratização de meios com a especialização dos concorrentes e questiona a acessibilidade às técnicas de representação em contraponto à dificuldade de lançar mão dos recursos disponíveis sem cair na gratuidade. Como segundo ponto discute o valor dos textos que acompanham os desenhos, encarados como fios condutores da opção retórica, e identifica as diferentes posturas adotadas pelos autores. A última questão colocada diz respeito ao papel didático dos eventos enquanto momentos de reflexão crítica e discute a permanência das idéias, os elementos de formação de repertório e sua influência no campo da educação. A pesquisa conclui sua argumentação defendendo a leitura deste conjunto de trabalhos a partir do resgate de documentos que podem revelar aspectos fundamentais para o retrato de uma época e a formação de um conjunto de valores. / This research pursuits a new understanding on relevant moments of the history of architectural competitions in Brazil, by the premise that these are events that render interest for they provide a kind of information that reflects each specific moment of the architectural production. It discusses the importance of representation in the development of the architectural design, the role of graphic material for the transmission of concepts, as well as the overvaluation of discourse and image and the inversion of values that it causes. In this context, it identifies the existence of a specific language in projects developed for competitions, in which the relation between texts and drawings assume peculiar characteristics. It sets the question of how these events generate a critical discussion and how the produced material becomes reference to the formation of specific knowledge in the subject. For that purpose, its content is organized in three moments. The first one establishes a conceptual basis and defines a methodology for the analysis of the collected projects. The second moment consists of an analysis of three fundamental events of our historiography: the Brasilia Urbanization Plan competition (1956) one of the essential realizations for the Brazilian architecture and the history of competitions; the Osaka Pavilion competition (1969) representant of a period of affirmation of a discourse and important part of the Brazilian Modern Movement development; and the Seville Pavilion competition (1991) a polemic event with an expressive repercussion, which characterizes a turbulent period of cultural transition. Following the analysis of theses events of formation the research changes its focus and, in its third part, traces a panorama of realizations from the Seville competition to nowadays. After that, it discusses a contemporary event, the USP Tolerance Museum competition (2005), in order to, from the basis generated by the study of the formation events and its reflections on the recent one, establish an approach to the current context. In the conclusions the research treats of the identification of a representational rhetoric expressed in the analyzed collection of drawings and texts and it discusses the specific message contained in each drawing and its influence in the development of the projects. It confronts the democratization of means with the contestants\' specialization and questions the accessibility to the representation techniques in counterpoint to the difficulty of exploring the available resources avoiding loosing consistence. As a second point, it discusses the values of the texts that accompany the drawings, faced as main conductors of the rhetorical option, and it identifies different strategies adopted by the authors. The last question is about the didactic role of the events while moments of critical reflection and it discusses the permanence of ideas, the formation of repertoire elements and its influence in the field of education. The research concludes its argumentation defending the understanding of the collection of works based in the rescue of documents that may reveal fundamental aspects to the portrait of an era and the formation of our values.

No description available.

Orientador: Leandro Medrano / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-11T21:46:50Z (GMT). No. of bitstreams: 1 Spinelli_JuliaRabello_M.pdf: 9264425 bytes, checksum: ce3f5f47ce09e7270e9a08d288d0c839 (MD5) Previous issue date: 2008 / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil

Il existe somme toute peu de théories du projet offrant une modélisation construite à partir de la complexité et de la diversité du projet d’architecture. Pourtant,certaines situations rassemblant parfois plusieurs dizaines de projets s’offrent d’elles-mêmes comme des situations comparatives et expérimentales : les concours d’architecture, d’urbanisme et de paysage. Le Laboratoire d’étude de l’architecture potentielle de l’Université de Montréal (Aménagement), après avoir développé un système d’archivage numérique des concours canadiens, a entrepris, avec le soutien du Groupement d’intérêt public « Europe des projets architecturaux et urbains », de développer la base de données documentaire des concours d’idées Europan. Au-delà des questions d’archivage numérique, se profilent clairement des possibilités de théorisation s’appuyant sur les logiques d’une base de données, en particulier sur la constitution du diagramme entités et relations, modélisation indispensable à sa traduction informatique. Cette recherche entreprend une première mise à jour de ces éléments conceptuels et tend à montrer que la base de données est un véritable modèle théorique du projet ouvrant sur de nouvelles avenues de recherche et de connaissance. / There are not many theories of project offering a modeling constructed from the complexity and diversity of the architecture project. However, certain situations bringing together dozens of projects, present themselves as comparable and experimental situations: architectural, urban and landscape competitions. The Laboratoire d'étude de l'architecture potentielle from the Université de Montréal (Environmental Design), having developed a system of digital archiving for Canadian competitions, has undertaken, with the support of Groupement d'intérêt public “Europe des projets architecturaux et urbains”, the development of a database comprised of the documentation of competition ideas of Europan. Beyond the issues of digital archiving, there are clearly theorizing possibilities based on the logic of a database, particularly on the structure of the entity/relationship diagram, an indispensable modeling necessary for its computer translation. This research is undertaking a first update of these conceptual elements and suggests that the database is a theoretical model of the project opening up new venues for research and knowledge.

Il existe somme toute peu de théories du projet offrant une modélisation construite à partir de la complexité et de la diversité du projet d’architecture. Pourtant,certaines situations rassemblant parfois plusieurs dizaines de projets s’offrent d’elles-mêmes comme des situations comparatives et expérimentales : les concours d’architecture, d’urbanisme et de paysage. Le Laboratoire d’étude de l’architecture potentielle de l’Université de Montréal (Aménagement), après avoir développé un système d’archivage numérique des concours canadiens, a entrepris, avec le soutien du Groupement d’intérêt public « Europe des projets architecturaux et urbains », de développer la base de données documentaire des concours d’idées Europan. Au-delà des questions d’archivage numérique, se profilent clairement des possibilités de théorisation s’appuyant sur les logiques d’une base de données, en particulier sur la constitution du diagramme entités et relations, modélisation indispensable à sa traduction informatique. Cette recherche entreprend une première mise à jour de ces éléments conceptuels et tend à montrer que la base de données est un véritable modèle théorique du projet ouvrant sur de nouvelles avenues de recherche et de connaissance. / There are not many theories of project offering a modeling constructed from the complexity and diversity of the architecture project. However, certain situations bringing together dozens of projects, present themselves as comparable and experimental situations: architectural, urban and landscape competitions. The Laboratoire d'étude de l'architecture potentielle from the Université de Montréal (Environmental Design), having developed a system of digital archiving for Canadian competitions, has undertaken, with the support of Groupement d'intérêt public “Europe des projets architecturaux et urbains”, the development of a database comprised of the documentation of competition ideas of Europan. Beyond the issues of digital archiving, there are clearly theorizing possibilities based on the logic of a database, particularly on the structure of the entity/relationship diagram, an indispensable modeling necessary for its computer translation. This research is undertaking a first update of these conceptual elements and suggests that the database is a theoretical model of the project opening up new venues for research and knowledge.

Cette thèse contribue à une théorie générale de la conception du projet. S’inscrivant dans une demande marquée par les enjeux du développement durable, l’objectif principal de cette recherche est la contribution d’un modèle théorique de la conception permettant de mieux situer l’utilisation des outils et des normes d’évaluation de la durabilité d’un projet. Les principes fondamentaux de ces instruments normatifs sont analysés selon quatre dimensions : ontologique, méthodologique, épistémologique et téléologique. Les indicateurs de certains effets contre-productifs reliés, en particulier, à la mise en compte de ces normes confirment la nécessité d’une théorie du jugement qualitatif. Notre hypothèse principale prend appui sur le cadre conceptuel offert par la notion de « principe de précaution » dont les premières formulations remontent du début des années 1970, et qui avaient précisément pour objectif de remédier aux défaillances des outils et méthodes d’évaluation scientifique traditionnelles. La thèse est divisée en cinq parties. Commençant par une revue historique des modèles classiques des théories de la conception (design thinking) elle se concentre sur l’évolution des modalités de prise en compte de la durabilité. Dans cette perspective, on constate que les théories de la « conception verte » (green design) datant du début des années 1960 ou encore, les théories de la « conception écologique » (ecological design) datant des années 1970 et 1980, ont finalement convergé avec les récentes théories de la «conception durable» (sustainable design) à partir du début des années 1990. Les différentes approches du « principe de précaution » sont ensuite examinées sous l’angle de la question de la durabilité du projet. Les standards d’évaluation des risques sont comparés aux approches utilisant le principe de précaution, révélant certaines limites lors de la conception d’un projet. Un premier modèle théorique de la conception intégrant les principales dimensions du principe de précaution est ainsi esquissé. Ce modèle propose une vision globale permettant de juger un projet intégrant des principes de développement durable et se présente comme une alternative aux approches traditionnelles d’évaluation des risques, à la fois déterministes et instrumentales. L’hypothèse du principe de précaution est dès lors proposée et examinée dans le contexte spécifique du projet architectural. Cette exploration débute par une présentation de la notion classique de «prudence» telle qu’elle fut historiquement utilisée pour guider le jugement architectural. Qu’en est-il par conséquent des défis présentés par le jugement des projets d’architecture dans la montée en puissance des méthodes d’évaluation standardisées (ex. Leadership Energy and Environmental Design; LEED) ? La thèse propose une réinterprétation de la théorie de la conception telle que proposée par Donald A. Schön comme une façon de prendre en compte les outils d’évaluation tels que LEED. Cet exercice révèle cependant un obstacle épistémologique qui devra être pris en compte dans une reformulation du modèle. En accord avec l’épistémologie constructiviste, un nouveau modèle théorique est alors confronté à l’étude et l’illustration de trois concours d'architecture canadienne contemporains ayant adopté la méthode d'évaluation de la durabilité normalisée par LEED. Une série préliminaire de «tensions» est identifiée dans le processus de la conception et du jugement des projets. Ces tensions sont ensuite catégorisées dans leurs homologues conceptuels, construits à l’intersection du principe de précaution et des théories de la conception. Ces tensions se divisent en quatre catégories : (1) conceptualisation - analogique/logique; (2) incertitude - épistémologique/méthodologique; (3) comparabilité - interprétation/analytique, et (4) proposition - universalité/ pertinence contextuelle. Ces tensions conceptuelles sont considérées comme autant de vecteurs entrant en corrélation avec le modèle théorique qu’elles contribuent à enrichir sans pour autant constituer des validations au sens positiviste du terme. Ces confrontations au réel permettent de mieux définir l’obstacle épistémologique identifié précédemment. Cette thèse met donc en évidence les impacts généralement sous-estimés, des normalisations environnementales sur le processus de conception et de jugement des projets. Elle prend pour exemple, de façon non restrictive, l’examen de concours d'architecture canadiens pour bâtiments publics. La conclusion souligne la nécessité d'une nouvelle forme de « prudence réflexive » ainsi qu’une utilisation plus critique des outils actuels d’évaluation de la durabilité. Elle appelle une instrumentalisation fondée sur l'intégration globale, plutôt que sur l'opposition des approches environnementales. / This thesis is a contribution to the general theory of design thinking. In the prevalent demand for a sustainable development, the main objective of this research is the construction of a theoretical model of design thinking that contextualizes standard sustainability evaluation tools. The basis of these normative tools is analyzed in four dimensions: ontological, methodological, epistemological and teleological. Indications of potential counter-productive effects of these norms for design thinking confirm the need for a theory of qualitative judgment. Our central hypothesis revolves around the benefits of the underlying conceptual framework of the ‘precautionary principle’ for design thinking, the first formulations of which goes back to the early seventies in Germany, and was in fact created as a way to address the failures of traditional scientific evaluation tools or methods. The thesis comprises five parts. Beginning with a historical perspective, a review of classical models of design thinking, specifically focuses on the evolving approaches for addressing sustainable development. Theories of “green design” coming from the early sixties, theories of ecological design of the seventies and eighties are finally converging on the developing theories of “sustainable design” formulated in the early nineties. The underlying theories of the precautionary principle are then reviewed and explored for the specific context of design within the perspective of sustainability. Current methods of standard risk assessment methods are compared to a precautionary approach, revealing their conceptual limits for design thinking. A preliminary theoretical model for design thinking is then constructed adopting the theories underlying the precautionary principle. This model represents a global vision for judging the design project in a context of sustainability, rather than on traditional approaches for risk assessment, which are purposive and instrumental. The precautionary principle is further explored for the specific context of architectural design. This exploration begins with a historical perspective of the classical notion of ‘prudence’ for guiding architectural judgment. In light of the contemporary issues related to sustainability, we then examine the challenges of judging architectural projects given the increasing international prominence of such standard evaluation methods (i.e. Leadership in Energy and Environmental Design, LEED). The thesis proposes a reinterpretation of design thinking as proposed by Donald A. Schön is introduced such that the use of tools, like LEED can be contextualized. This exercise reveals an epistemological barrier, which shall be taken into consideration when reformulating the theoretical model. In accordance with a constructivist epistemology, a new theoretical model is therefore confronted to the study and illustration of three contemporary Canadian architectural competitions adopting the standard evaluation method LEED. A preliminary set of ‘tensions’ identified in the judgment process and design thinking is further categorized into their conceptual counterparts. These are: (1) analogical/logical conceptualization; (2) epistemological/methodological uncertainty; (3) interpretive/analytic comparability; and (4) universal/contextual relevance of the proposal. These conceptual tensions are considered as vectors that come into correlation with the theoretical model, enriching it, yet without validating it, in the positivist sense of the word. These confrontations with the real, help better define the epistemological barrier identified above. This thesis therefore highlights the often underestimated impact of environmental standards on the judgment process and design thinking, with particular, albeit non restrictive, reference to contemporary Canadian architectural competitions for public buildings. It concludes by stressing the need for a new form of “reflective prudence” in design thinking along with a more critical use of current evaluation tools for sustainability founded on a global integration rather than on the opposition of environmental approaches.

Esta dissertação pretende discutir a unidade e a pluralidade no meio arquitetônico paulista, a partir de suas redes de sociabilidade, espaços de profissionalização e movimentações críticas, tendo como material primário as revistas especializadas publicadas na cidade no período de 1945 a 1965. Trata-se de percorrer a dupla direção das relações entre um grupo intelectual - uma parcela de arquitetos atuantes na cidade - e suas manifestações, procurando traçar o espaço particular no qual se desenvolveram parte de seus laços profissionais, de suas trocas culturais e ideológicas, e de seus posicionamentos projetuais. Operando na intersecção entre espaço urbano, organizações culturais, instituições profissionais e acadêmicas, o primeiro capítulo procura traçar as redes de sociabilidade dos arquitetos em São Paulo. O segundo capítulo busca percorrer os meandros da crítica paulista - suas aproximações, desarticulações, rupturas e deslocamentos críticos - a partir de seus diálogos internos e dos diversos olhares lançados sobre a arquitetura contemporânea no Brasil, principalmente aquela produzida no Rio de Janeiro. Por fim, o terceiro capítulo é uma tentativa de aproximação das interlocuções projetuais entre os arquitetos locais através da análise de alguns dos concursos de arquitetura realizados em São Paulo no período e que encontraram eco nas revistas de arquitetura locais. / This work intends to discuss the unity and plurality of the architectonic environment of São Paulo, through their social networks, professional spaces and critical movements, using as primary source some specialized magazines, published in the city between 1945 and 1965. The study will investigate the relationship between an intellectual group - a parcel of architects working in São Paulo - and its manifestations, seeking to understand the particular space in which some of its professional ties, cultural and ideological exchanges, and projetual attitudes were developed. The first chapter seeks to outline the social networks of those architects, through the intersection of urban space, cultural, professional and academic institutions. The second chapter studies the local criticism - their intellectual approaches, disarticulations, fractures and dislocations - across their inner dialogues and their different looks launched on Brazilian contemporary architecture, especially the one produced in Rio de Janeiro. Finally, the third chapter aims to approach the projectual dialogues between the local architects through the analysis of some architectural competition held in São Paulo in the period and that found an echo in local architecture magazines.