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As part of the second generation of modern architects from Rio de Janeiro - at least one decade separated him from the first group of modern architects acting in Rio, such as Lúcio Costa (1902-1998), Jorge Machado Moreira (1904-1992), Oscar Niemeyer (1907-2012) and Affonso Eduardo Reidy (1909-1964) -, Sérgio Bernardes (1919-2002) was a son of the new times. Graduated in 1948 at the National School of Architecture of the University of Brazil, currently the Federal University of Rio de Janeiro, his work began to consolidate precisely in the post-war period, when the North American culture was imposed as the greatest reference in the Brazilian context, leaving the European influence - and the French, as its greatest expression in the country16 - in the background.
Fausto Sombra's research is based on some academic texts that converge in the affirmation of the greater affinity of Bernardes' work with the cultural and technological expe-rience underway in the United States;
About the author
Fausto Sombra is an architect and urban planner (Belas Artes, 2002), holds a master's degree (FAU Mackenzie, 2015, with a Fapesp schol-arship) and a PhD (FAU Mackenzie, 2020, with a Capes scholarship). He attended the master's program "El Proyecto: aproximaciones a la arqui-tectura desde el medio ambiente histórico y social" (UPC Barcelona, 2008). He participated in various commemorative actions for the cente-nary of Sérgio Bernardes' birth and co-curated, with Abilio Guerra, the exhibition Three Pavilions by Sérgio Bernardes, held at the Mackenzie Historical and Cultural Center (São Paulo, Sep./Nov. 2019). In partnership with Abilio Guerra, he is the author of the text "Avenida Paulista, 1951: scenario of the 1st São Paulo Biennial," an article that opens the book Bienal de São Paulo since 1951, organized by Paulo Miyada. He is currently the coor-dinator of the buildings department at Bernardes Arquitetura office (2021-).
