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(Antonio da Cunha)

(b Rio de Janeiro, Dec 4, 1891; d São Paulo, Aug 14, 1980).

Brazilian architect and professor. Educated at the Escola Nacional de Belas Artes, Rio de Janeiro, between 1908 and 1920, his main built work includes the building for the newspaper A Noite (1927, Rio de Janeiro), the Viaduto do Chá (1934–1938, São Paulo), and the João Brícola/Mappin Store Building (1937, São Paulo). As a professor, he taught courses on landscape architecture and professional practice at the Escola de Engenharia, later Mackenzie School of Architecture (1943–1970) and the Faculdade de Arquitetura e Urbanismo of the University of São Paulo (1954). He also represented the schools of engineering (1946–1949) and architecture (1949–1952) at the São Paulo Conselho Regional de Engenharia e Agronomia (Regional Board for Engineering, Architecture, and Agronomy; CREA). Bahiana was a pioneer in the rational use of reinforced concrete in Brazil. Historians associated his work with Art Deco tendencies due to the geometric shapes of its ornamentation. Bahiana himself, however, claimed not to pertain to such a category of style....

(b St. Andrew, Dec 29, 1902; d Sept 20, 1992).

Jamaican sculptor. He was initially self-taught, but later attended the Camberwell School of Arts and Crafts, London. He worked as a furniture-carver in the 1930s for the Jamaican Art Deco furniture designer Burnett Webster (1909–1992). His own work of this period was influenced by Art Deco and by Edna Manley. Gradually it became more academic, and he became Jamaica’s most popular monumental sculptor. Among his best-known works are monuments in Kingston to Jamaica’s national heroes, including Norman Manley (1971) and Alexander Bustamante (1972), as well as to the reggae singer Bob Marley (1985). He worked in various materials, including bronze, but was at his best as a woodcarver. His outstanding achievement is the carved ceiling decoration and lectern of the university chapel, University of the West Indies, Mona, Jamaica.

Mexican architect. He graduated from the Escuela Nacional de Arquitectura, Mexico City, in 1924.

He was among the young architects who led the transition away from academic classicism in Mexican architecture in the 1920s and 1930s. In the early and mid-1920s Obregón Santacilia was the preeminent government architect and won commissions to design major projects intended to demonstrate federal efforts to improve health care and education, as well as to convey the country’s stability and commitment to strengthening national culture. His early works revealed a gradual progression away from historicist styles and reflected his absorption of the forms of Spanish colonial architecture and Art Deco, as well as the influence of Mexican popular arts. In several of his major projects Obregón Santacilia collaborated with sculptors and painters, most notably Roberto Montenegro, Diego Rivera, and Jorge González Camarena. In the 1940s his buildings increasingly reflected the influence of International Style modernism....