Art déco e indústria: Brasil, décadas de 1930 e 1940

Este artigo analisa as características assumidas pela arquitetura de tendência art déco em construções ligadas à indústria - moradias, igrejas, escolas, clubes, fábricas etc. - erguidas no Brasil nas décadas de 1930 e 1940, investigando o repertório formal utilizado em diferentes tipologias. Faz uma análise mais detalhada das construções criadas pela Companhia Industrial Fiação de Tecidos Goyanna, em Pernambuco, no período entre 1937 e o final da década de 1940. Trata-se de um conjunto notável pela unidade formal, vinculada à linguagem art déco, e pelo emprego de soluções inovadoras em termos de forma e de programa.The aim of this article is to analyze the characteristics of Art Deco tendencies in buildings related to the industry - as houses, churches, schools, clubs, plants etc - in Brazil during the 1930s and 1940s. It studies the formal repertory used in different types of construction and develops a more detailed analysis of a complex of constructions by the firm Companhia Industrial Fiação de Tecidos Goyanna, in the state of Pernambuco, built during the period between 1937 and the end of 1940s. The presented group of constructions is notable for the formal coherence, associated with the Art Deco language, and for the use of innovative program and form solutions

The racial division of nature: Making land in Recife

In this paper I analyse the making and unmaking of amphibious urban modernity in Recife in the Northeast of Brazil between 1920 and 1950. I argue that the transformation of the city was predicated on an absorptive and eradicative notion of whiteness that necessitated the creation of dry, enclosed land. The process of urban transformation proceeded not only through a racial division of space, but through a racial division of nature. Racialised groups, and the houses, marshlands, and mangroves where they lived were subject to eradication not only as spaces but as ecologies and landscapes. Brazilian racial thought in the period was fundamentally imbricated with ideas about nature. Histories of coloniality, indigeneity, enslavement, and escape meant that forests, wetness, and the spectre of commonly held land were understood as threats to whiteness and its self‐association with order, enclosure, purity, and dryness. To answer why the division between the wet and the dry was so important, and why whiteness needed dryness, I turn back to philosophical investigations of the foundational myth of Brazil. I argue that a peculiarly Brazilian philosophy of nature, which drew racial lines within nature itself, underpinned a familiar, if uncanny, white supremacy that ordered society along the material and symbolic contours of race. Under colonial modernity, this philosophy translated into a division of the pure – rational, cleansed, dry, modern, urban space – from the impure – muddy, fearful, tangled, forested landscape. Under the conditions of dependent capitalism, the process on which this racial division of nature relied was enclosure. Identifying the historical process of the racial division of nature is of particular significance in Brazil, given the still flowing undercurrents of racial oppression and environmental plunder