Projeto Ceará 202

For those who are not familiar with Brazilian architecture, it can seem strange that a magazine called Acrópole (Acropolis) would have such a reputation to deserve a webpage to make their pages available for consultation.

The word “Acropolis” (and its translation into other languages) appears in any dictionary. According to a dictionary definition, it is “one of the highest points in ancient Greek cities, which served as a citadel and were temples and palaces were eventually built”. “Acropolis” could be the title of a history, philosophy or law journal. Contrary to what is predominant in this area, in which the word “architecture” is a repeated term in the titles of journals, veteran architects remember that the magazine was mocked in certain sectors with a play on words with “necropolis”.

Here one of the many paradoxes that surround the fame of the magazine is revealed: When it first appeared, on the eve of World War II, modern architecture was still trying to assert itself amidst the multiple trends that still divided the architectural practice in the Western world. Certainly, the magazine title insinuated art, beauty and the monumentality of ancient Greece’s “temples and palaces”. Thus, it was born archaic when gazing at the functionalist and rationalist modernity that, in the end, dominated after the World War.

Text above by Hugo Segawa

 

At the house entrance, a welcoming marquee protects an ample porch that provides access to the foyer.
Jayme C Fonseca Rodrigues designed his home according to his wishes. The sun exposure, something that is very important in São Paulo, was treated with great care. Jayme placed his social rooms and bedrooms facing north, and in doing so did not hesitate to place the bathroom at the front of the house.
For the living room, he designed a large birch sofa, with jade green wool upholstery. The soft tone of the rug contrasts admirably with the table and the floor in kingwood from Bahia. There are a green puff and curtains in beige velvet and pinkish beige voile.
On the floor of polished travertine at the foyer, a fur runner presents a unique combination with the marble and polished coper side table. The modern piano in birch, ebony and polished copper completes the living room.
The fireplace, with its surprisingly audacious shape, holds the uniquely original golden bronze lamp with parchment shade. In the dining room, there is a sedate side table in kingwood from Bahia, topped by a splendid golden bronze sculpture. Two lamps surround the large square mirror, giving an imposing distinction to the whole.
On the opposite wall, an antique photograph is above a shelf made of travertine and black Belgium marble. The chairs are upholstered in ivory kid. The rug is cream and brown. The curtains are of beige velvet and the voile of pinkish beige silk. The large sliding door leads to the back porch, which overlooks he magnificent Pacaembu landscape.
The bedroom has a comfortable and relaxing appearance, where the smooth tones of the light salmon walls, the almost white cream of the curtains and the pinkish grey of the painted walnut furniture join harmoniously under the influence of the artistic and well-distributed indirect lighting. An elegant rounded vanity table is part of the closet arrangement.

 

Source and complementary text: Revista Acrópole