Affonso Reidy as the Missing Link between Carioca and Paulista Schools

If most of the history of twentieth-century Brazilian architecture is written in two distinct moments— the Carioca school of 1930–1950 and the Paulista school of 1950–1970—Affonso Eduardo Reidy can be considered the missing link between them. instead of following Niemeyer’s exuberant ways, Reidy’s designs, closely followed rigid compositional systems—a skill that fit well with his search for efficiency and economy in public buildings. With the design for the Museu de Arte Moderna (MAM), this new direction in Brazilian architecture would be fully established. In 1953, the City of Rio de Janeiro decided to build a permanent home for the MAM on the northern edge of Flamengo Park with magnificent views of Guanabara Bay and the city waterfront buildings at Flamengo and Gloria. When state politicians suggested that Niemeyer be hired to design the building, the mayor of Rio de Janeiro intervened, stating that there was no need to spend a fortune on a design that could be done in-house by Reidy. An external skeleton is used here to allow maximum flexibility in the interior exhibition halls by creating free and unobstructed spaces. The trapezoidal structure holds a concrete slab that serves as the main floor of the museum. In this way, three-fourths of the ground is left open. The rigorous, exposed concrete structure dominates the spatial arrangement, allowing an interior flexibility that is highlighted by changing horizontal planes, something that would be thoroughly explored by the Paulista school soon after.