América Futebol Clube (Natal/RN): existe uma integração das artes?

Le Corbusier used the word synthesis in the introduction of the first number of L' Esprit Nouveaux as one of the definitions to the spirit of construction of the modern feeling (von Moss, 1977) and it converted into a leitmotiv in his work after World War II when the artist proclaimed that the architecture was the synthesis of the biggest arts: an agreement of the forms in the architecture, the painting and the sculpture, each one working as independent organisms, each expressive modality keeping its individual characteristics. After the World War II, the debate to the relation between the arts occurs in the International Congresses of Modern Architecture(CIAM) of 1947 and 1951, where seeks the direction of the integration and participation of diverse artistic activities in the meaning of a similarity of techniques in plastic arts and architecture and the evocating the approach of the architecture and other arts. (FERNANDES, 2005). To establish an operational concept of the Synthesis of the Arts assumes to integrate illustrated premises, romantic attempts and postulates of the Arts & Crafts, of the dutch Neoplasticism and the Russian Construtivism. The necessity of revision of the definition of Synthesis of the Arts, as it demonstrates Corbacho (2001), comes across with a rich field of allusive forms to its operatividade for terms spread out for totality, alliance, integration, interrelation, tunning, contribution or dialog. A possible relation with the Mexican Muralism (Zanello, 2006) and the existence of an intentional ideological speech is argued by Aracy Amaral, Mário Pedrosa and Annateresa Fabris. The integration between the arts will go to materialize in the modern Brazilian architecture from the building of the Ministry of the Education and Health (1943), in the Pavilion of Brazil in the World-wide Fair of New York (1939) and in the church of San Francisco de Assis, in Pampulha (1943). Without a doubt, one of the peculiar characteristics of this architecture that was produced in Brazil is the union of the work of various professionals. In the present time, the subject of the synthesis of the arts has been boarded with a great diversity of approaches, that generally finish for fixing in the production of a place (Campos, 2001) or of its insertion in the work of determined author, (Ferraz, 1998) or in the generic aspects of the relation between architecture and arts (Santos, 2000). Investigating the diverse tracks of approaches and concepts of the subject, we intend in this text to identify where “place” the modern architecture of the city of Natal/RN lodged the headquarters of America Soccer Club. The work of the Portugal born architect Delphi Amorism, of 1960, allow us in them to consider the existence of a relation between the modern architecture and plastic arts and evidence of its importance in the consolidation of the modern movement in the Rio Grande do Norte State looking at the general characteristics (Bruand, 1981) and particularities of the new Brazilian architecture.