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

America. Only after all these reforms, Poty Lazzarotto, the artist who signed the frontal façade and had already worked on the designs was contracted (He did not execute his work). He also projected the fire-curtain of the stage Bento Munhoz da Rocha Neto. He created the fire-curtain of the biggest theater known as Salvador de Ferrante Auditorium, both executed by Laila Tarran, and Carmen Carine. As Laila explained, Poty followed the execution of his works like the Façade of the theater, and even added things out of the project to the curtains. Gaudi didn’t, because of the accident that robbed his life.

            The Façade of Guaíra Theater( 24,50 x 4.80) provides a wonderful view of the evolution of the theater throughout the world. Different tonalities of gray and white are observed (the moulds produced by Poty, were made of wood, providing a different tonality), as well as different levels of a plan structure of cement, divided in several rectangles, set in so many different planes (Some of them are negative). Contrary to the panel performed with the same technique (on the walls of Iguaçu Palace), one can observe that lines are different and variable. In Guaira mural, Poty uses band lines much more than straight lines, as it can be observed in the mural of Iguaçu Palace (Taylor 55). Poty is the son of European Immigrants, and he had the preoccupation to show people from the field and from the North of Brazil, known as caipiras, and cangaçeiros. The existence of communities with different costumes can be observed as one of his arguments. “There are some communities that live in a total segregated society. They live in a diaspora, relationship, except the inevitable and the legal situation is normally precarious

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