Architecture, ceramic and frames. Three case studies in the work of Jorge Barradas Ana Almeida Az - Rede de Investigação em Azulejo ARTIS – Instituto de História da Arte, Faculdade de Letras, Universidade de Lisboa PHD Student (Grant FCT SFRH/BD/76754/2011) [email protected] --------------------------------------------------------------------------------------------ABSTRACT From the end of the 1940’s, and especially during the 1950’s and 1960’s, Portugal saw the influence of the international modern movement in its architecture. This aspect resulted in a new way to build and revealed, among other things, the deconstruction of the traditional façade, alongside the emergence of new architectural typologies mostly related to public works. These changes of the architectural supports had, inevitably, an influence on the way artists and architects conceived the azulejos covers, particularly in a formal level, with a creative freedom on the use or absence of frames in their works. Of the artists with ceramic work applied during these years, Jorge Barradas (1894-1971) stands out as the first one that dedicate himself entirely to ceramics and whose work would influence other artists. Strongly innovator in terms of technique, in a formal level his work was characterized by a marked influence of the modernist aesthetics of the early 20th century, with references to the ceramic tradition both Portuguese and international, and by a variety of approaches in the articulation between azulejo coating and architecture. Therefore, this communication aims to examine how these aspects are present in the works in which Jorge Barradas decided to use frames and, above all, the role that they played in the relationship between his work and architecture. To this end, we will be presenting three case studies that correspond to different types of architectural support and ceramic covering, all significant works in the professional path of Jorge Barradas: the Palácio Atlântico, a banking institution in Oporto designed by the studio ARS Arquitectos (1950); the Parish Church of Parede (1952-1953) and the Justice Palace of Lisbon (1969) design by the architects João Andresen (1920-1967) and Januário Godinho (1910-1990). --------------------------------------------------------------------------------------------Ana Almeida is researcher at ARTIS - Instituto de História da Arte |Faculdade de Letras| Universidade de Lisboa since December 2008 and, since April 2012, holds a PHd grant (FCT) at the same institution dedicated to theme "Authors Ceramics for Architectonical Integration. The collection of the Museu Nacional do Azulejo". Master in Museum Studies, Faculdade de Belas Artes de Lisboa | Universidade de Lisboa, with a thesis entitled "From the City to the Museum and from the Museum to the City. Itinerary propose on author tiles in Lisbon (second half of the 20th century" (March 2010). History and a Art History Degree from the Faculdade de Ciências Sociais e Humanas | Universidade Nova de Lisboa (1989-1993). Worked at at the Museu Nacional do Azulejo (1999-2003), Direcção Geral das Artes (2004-2008) and Câmara Municipal de Loures (1996-1997). Research interests: Contemporary Ceramic, Public Art, Urbanism and Architecture, Museum studies.