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

for a negation of the merely empirical status. These speeches aren’t only linked with the legitimization of power, but also how anyone can reach truth [. . .] ” (Alexander 38-39)

        One can consider each created space is a social fact. As it is defined:   “[. . .] the ways to do something, stable or not, whenever it’s possible, exercise an exterior coercion on the person, or all the way of an extension of a society, having a proper existence, independent of individual manifestations”(Durkheim 12). Both façades enchant anyone, addressing to imaginary spaces.

       Comparing their artistic performances, Secret Family Temple, and Guaíra Theater Façades, no matter the splendor of the church itself, one can have an idea of personalized places. The context in each of them was involved should be observed so that the murals themselves can be understood as the emergence of contemporary social values, represented by their creations, enlightening the cities and enchanting church and theater goers, as well as tourists. “The reconstruction of the reality by the empirical characterization in terms of analysis and unification of the results, is a good way to keep longer the questions of the observer” (Orestan 31) . But the contemplation does not exclude anyone.

            Antonio Gaudi inspired so many writers along these years since his first biographies were printed out, especially between 1829 and 1953.” Authors had Gaudi’s image confusing sometimes. A cultural and political Renaissance took place in Europe and that was the context.

            It was a moment of economical prosperity and urban expansion with patronage of a middle class that wanted to be tune with

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