Burle Marx: caminos del paisajismo moderno brasileño

• Autores: Aline Sampaio de Mello Guimaraes
• Directores de la Tesis: Daniel García-Escudero (dir. tes.), Víctor Brosa Real (dir. tes.)
• Lectura: En la Universitat Politècnica de Catalunya (UPC) ( España ) en 2015
• Idioma: español
• Tribunal Calificador de la Tesis: Antonio Armesto Aira (presid.), Xavier Llobet Ribeiro (secret.), Carlos Labarta Aizpún (voc.), Débora Domingo Calabuig (voc.), Roger Miralles (voc.)
• Materias:
  • Ciencias de las artes y las letras
    • Arquitectura
      • Diseño arquitectónico
      • Jardines y parques
• Enlaces
  • Tesis en acceso abierto en: TDX
• Resumen

  • The work developed by this thesis proposes the analysis of twenty one landscape designs that were conceived by Roberto Burle Marx between 1930 and 1970. By walking through different phases and design rehearses, we are able to follow the author's creative process as well as to fully absorb his way of thinking, one of the main goals of this work. The analyses, although being held individually, follow a given chronological order, what leads us to the confirmation of the hypothesis that was pointed out in the beginning of the work, i.e, not only that Burle Marx work may be seen as a single project but also that the value of each of his designs is highlighted when analyzed among the others, being – the design itself – a fragment of an long-term research that begins by his first landscape designs and that keeps going until his last ones. In this case, his last works are the ones designed for Brasilia – due to the time cut that was established for making this study possible – which we consider to be great examples of Burle Marx composite language consolidation, besides being part of an important age of brazilian (as well as international) modern architecture. His work may also be bound by the analysis of how aquatic elements are used on different ways through every studied year. Being divided in four parts, in the first chapter the work deals with Burle Marx initial designs in Recife, using an yet very classic-based vocabulary, which is then influenced by modernism, as it may be seen on designs presented in the second chapter, which mainly located in Rio de Janeiro. In the third chapter, bigger designs are presented and a growing number of works are demanded for his office. Finally, the designs for the new brazilian capital are presented in the fourth chapter.