A comparison between Antoni Gaudi (1852 – 1926) / Barcelona / Spain – – Fa?ade of The Secret Family Temple with Poty Lazzarotto (1924-1998) Ctba-BR

energetic as Poty’s.

            In conclusion, it can be inferred from this approach that the submerged industrial society takes with it all the principles mainly in the two last centuries. Modern architecture is coming down because the moral legitimization of its aesthetics and philosophical reasons don’t exist any more. However, [. . . ] “ Modernity as Baudelaire wrote in his article The painter of modern life printed in 1863, is the transitory, the escapable, the contingent, it is half of the art, being the other half the eternal and immutable” (Harvey 21).

            People can have interfaces of different interpretations of urban life and open a space to every new conception of art itself. As Laila Tarran mentioned in an interview: “There is no innocent look”. And there is a code of spaces in all the cities nowadays. Space for leisure, residential areas, business area, marketing, parks, shopping centers, churches, hospitals, and so on. Do works of Arts add anything to these spaces, or do they diminish the functionality of that certain space? It is not uncommon to listen people saying: “But this Poty’s mural was a fortune for the government … “Or, “Gaudi should have spent all the money of the families in a very difficult time (War)…”. As Mirabeau says: [. . . ] civilization does not do any good for the society if it’s not the form and substance of virtue ( Elias 54). 

            Like Barcelona, Curitiba got the right concept of property on setting the arts printing out a unique language in terms of style. “Artists reported the past looking to the future” (Taylor177).

                        As Stella Pandell Russell reports

Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19