The 1939 New York City World’s Fair was an important moment for Brazil to showcase their renewed sense of self and world consciousness. With the Modernism movement starting in 1922, artists discovered a way to successfully celebrate their roots through integration of the European art forms in order to portray the unique spirit of Brazilian people and its landscapes. What made this movement particularly successful, was the artists’ desire to not shy away from the rawness of Brazilian realities. They proudly celebrated their more primitive background and labor intensive lifestyle, representation of which could not be observed in the refined works of European Artist. The Brazilian Modernism movement also built on the beauty of the features of their country’s landscapes which fluidity and motion like character fascinated many. Through the analysis of building’s forms and its relationship with the Brazilian modernism movement, the

arts exhibited within, and Burle Marx’s landscape designs, we understand Brazil Pavilion by Costa and Niemeyer as a plastic work of architecture. It did not only engage, but masterfully displayed Brazil’s strong spirit, in turn, making it one of the more successful buildings in the exhibition. Additionally, the inclusion of Brazilian modernist art and sculptures elevated the connection the building had with visitors, resulting in an immersive sequential experience. The architects approached the design of the building with the clear understanding of the context within which the building was constructed and the effect that Brazil wanted to achieve with the building. As a result, the 1939 Brazil Pavilion manifested itself in the plastic work of architecture that was designed to leave a lasting impression as a temporal exhibitionist piece.

View from the French Pavilion.. Photographer unknown. 1939. Print, Arqtexto no. 16.