Vol. 33 No. 1 Special Issue, vol. II (2025): Oltre il Novecento. Teoria e prassi per il "Restauro del Moderno"
Il cantiere / Conservation/restoration site

Il restauro conservativo della Casa Modernista de Gregori Warchavchik in Brasile (1927): abbandono e riuso nella conservazione della prima opera modernista brasiliana / The conservative restoration of the Modernist House of Gregori Warchavchik in Brazil (1927): abandonment and reuse in the conservation of the first Brazilian modernist work

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  • Haroldo Gallo,
  • Marcos Tognon
Haroldo Gallo
Instituto de Artes, Universidade Estadual de Campinas
Marcos Tognon
Instituto de Filosofia e Ciências Humanas, Universidade Estadual de Campinas
DOI: https://doi.org/10.36253/rar-19072

Published 2025-12-12

Keywords

  • First Brazilian modernist work,
  • Conservative restoration work,
  • Gregori Warchavchik,
  • Haroldo Gallo

How to Cite

Gallo, H., & Tognon, M. (2025). Il restauro conservativo della Casa Modernista de Gregori Warchavchik in Brasile (1927): abbandono e riuso nella conservazione della prima opera modernista brasiliana / The conservative restoration of the Modernist House of Gregori Warchavchik in Brazil (1927): abandonment and reuse in the conservation of the first Brazilian modernist work. Restauro Archeologico, 33(1 Special Issue, vol. II), 278–283. https://doi.org/10.36253/rar-19072

Copyright (c) 2025 Haroldo Gallo, Marcos Tognon

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Abstract

The first Brazilian modernist work was created by a Ukrainian immigrant, architect Gregori Warchavchik, who was trained in Italy. Built in 1927 for his own home, he renovated it himself in 1935. In 2002, the building was already legally protected and classified as a heritage site, but it was in ruin when architect Haroldo Gallo was commissioned to carry out the restoration project. The conservative restoration work was carried out in the early 21st century. The article will analyze the characteristics and contradictions of the work's two ‘languages’ (1927 and 1935) and construction techniques, as well as the conservation intervention and the adoption of a reuse strategy and, unfortunately, the work's current abandonment.

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