Lucio costa biography awards

This experience confirmed Style as the expressive area he felt to be most his own, fixing his future professional pathAfter his experience with the Maglificio di Perugia, Lucio Costa began to work as a Fashion Designer in the La Perla Group and, subsequently, collaborated with important beachwear, knitwear and ready to wear brands. Among the most significant collaborations are those of the early 1980s with Loretta Di Lorenzo’s first Women’s Line and for Fenzi’s men’s and women’s knitwear. These were followed by Mariella Burani’s Beach and Yachting collection and, more recently, Jean Charles De Castelbajac’s collection for women.

In the early 1990s, Lucio Costa was also the stylist of reference for the Linea Basile 28 Donna Giappone, and ready to wear consultant for the Japanese market.

The Comitato Moda Industriali Tessili Abbigliamento and the specialized magazines

of the sector turned to Costa’s collaboration in determining the seasonal trends of the sector and, in his final years, he was called upon to bring his experience to the young as well, serving as academic Lecturer of Fashion Design. In 1987, along with these consultancies, Lucio Costa decided to create collections under his own brand and

set up a firm with Roberto Pelizzoni.

The first public presentation of the Lucio Costa Collection, centered on knitwear, debuted that same year on a runway in Milan’s central Teatro Litta. In this first show, Costa put all of his tendency to the dreamlike and the playful, presenting child models who moved across the stage playing and romping as they went.

The style of this first collection was part of the new direction emerging among

the stylists of the period who, from that moment, began to propose deconstructed garments with un-padded, “natural”, shoulders, totally at odds with the squared-off volumes dominating the early 1980s. From its first show, the Lucio Costa Collection was purchased by such trend-setting boutiques as Zeus in Milan, Ivo Milan in

Modern architecture has been defined by visionaries who dared to dream beyond conventional boundaries. Among these pioneers, Lúcio Costa stands out as a transformative figure who merged modernist principles with the cultural identity of Brazil. Best known for his master plan of Brasília, Costa’s work reflects a deep understanding of architecture’s role in shaping society. This post delves into his life, significant works, and the legacy he left behind.

Early Life and Education

Lúcio Costa was born in Toulon, France1902 to a Brazilian father and a French mother. His family returned to Brazil during his childhood, where he grew up amidst the cultural diversity and vibrancy of the country that would later define his work.

Costa pursued architectural studies at the National School of Fine Arts in Rio de Janeiro. His early training was deeply rooted in neoclassical and eclectic styles, which dominated Brazilian architecture then (ArchDaily Biography). While this traditional foundation informed his craft, his eventual exposure to modernist principles transformed his approach.

Shift to Modernism

Influence of European Modernism

Costa’s career took a defining turn in the 1930s when he encountered the works of European modernist pioneers, particularly Le Corbusier. This exposure came during a pivotal moment in Brazilian architecture when the country sought a unique modern identity. Costa collaborated with architects like Oscar Niemeyer to embrace functionalist design, characterized by simplicity, efficiency, and a rejection of ornamentation (MoMA Learning).

Early Modernist Projects

One of Costa’s first major modernist endeavours was the Ministry of Education and Health building in Rio de Janeiro. The project, designed with Le Corbusier as a consultant, showcased a blend of modernist ideals with local adaptations. Costa incorporated Brazilian materials and climate-sensitive elements

Brazilian architect

In this Portuguese name, the first or maternal family name is Ferreira and the second or paternal family name is Ribeiro.

Lúcio Marçal Ferreira Ribeiro Lima Costa (27 February 1902 – 13 June 1998) was a Brazilian architect and urban planner, best known for his plan for Brasília.

Early life

Costa was born in Toulon, France, the son of Brazilian parents. His father Joaquim Ribeiro da Costa, from Salvador, was a naval engineer, and his mother Alina Ferreira da Costa, was from Manaus. He was educated at the Royal Grammar School, Newcastle upon Tyne, England, and at the Collège National in Montreux, Switzerland, until 1916, he graduated as an architect in 1924 from the National School of Fine Arts in Rio de Janeiro. After some early works in the eclectic manner, he adopted Modernism in 1929.

Career

In 1930, Costa established a partnership with Russian-born Brazilian architect Gregori Warchavchik, and also became the Director of the National School of Fine Arts where he had studied. Even though he found students eager to be taught in the "new style," his ruthless administration won him the opposition of the faculty and student body, and Costa eventually had to resign after a year in office. He joined the newly created SPHAN (Servico do Patrimônio Histórico e Artístico Nacional – National Service of Historic and Artistic Heritage) in 1937 under Rodrigo Melo Franco de Andrade. He remained at the National Heritage Service until retirement, acceding to the top post of director, where he was followed by his granddaughter Maria Elisa Costa. During his tenure as regional and then national director, he became involved in numerous controversial decisions (see Controversies).

Costa became a figure associated with reconciling traditional Brazilian forms an

Brazilian planner, preservationist and modernist thinker Lúcio Costa (27 Feburary 1902 – 13 June 1998) is best known for his 1957 plan of Brasília that shaped the Brazilian capital into a monument to utopian modernism. A resolute and often controversial figure in the Brazilian establishment, Costa’s contributions to Brazilian architecture helped to shape the distinctive modernism that was practically Brazil’s official style until the 1980s.

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Educated internationally, Costa graduated from the Escola Nacional de Belas Artes at the age of 22 and, only 6 years later, returned in a partnership to direct the school. While he did not prove popular (and was forced out by the collective will of both students and faculty) his style of modernism ultimately did. Working with a team of young Brazilian architects and Le Corbusier, his Ministry of Education and Health in Rio de Janeiro became a concrete statement of the path Brazil would take in the 20th century. It was also this project that helped propel Oscar Niemeyer, Brazil's titan of modernism, from an intern to the architect who would later take on the monumental buildings of Costa’s Brasília plan.

With Niemeyer designing, in quick succession, the institutions of the state, Costa was free to concentrate solely on the urban plan of the city. Although Niemeyer's buildings became Brasília's face, Costa was the one who gave the city its utopian soul, designing the residential areas in forested 'superblocks' that were equipped with leisure and sports facilities accompanied by small shopping areas for residents, luxury and affordable alike. Costa designed the quintessential modernist city and one that has resonated through generations of urban planners, and Costa himself—although later facing fierce criticism—never stopped defending Brasília's design.

Costa joined the Brazilian Historic and Artistic Heritage