Analysis of the relationship, experiences and exchanges between Brazilian and American architecture professionals or immigrants in North America from the perspective of Modern Brazilian Architecture. The period to be analyzed extends from the recognition of Brazilian modern architecture at the international level, between the end of the 1930s and the beginning of the forties, going through the second post-war period and stopping at the first International Biennials of Art and Architecture (from 1951 to 1959). This moment is characterized by the strong presence in Brazil of architects representing the modern movement, such as Le Corbusier, Walter Gropius, Mies van der Rhoe, Philip Johnson, Richard Neutra and many others. Analyzing this relationship means understanding the intense exchange of information that took place at the time between artistic institutions in Brazil and the USA, such as MAM in São Paulo, promoter of the first International Biennials of Art and Architecture, and MoMA in New York, as the main promoter new modernist trends worldwide. In this context, the role played by CIAM's, which are reflected in the Brazilian architectural reality, with the presence in Brazil of Sigfried Giedion and Josep Lluís Sert, who participate as jurors in the first and second Biennials, respectively, also stands out. The repercussion and local reception of the various dialogues thus established constitute the central core of this approach. In this direction, it is necessary to understand the origin of the "Good Neighborhood Policy" discourse and the strengthening of the North American cultural influence in our country, resulting from these cultural and professional exchanges that were made possible thanks to the conditions and incentive programs generated from this framework and its unfolding in the prominence of an American accent in the international language of modernism. The delimitation of objectives, spatial and temporal cuts, and the search for subsidies to support the research, triggered the interest in the theme that is intended to be developed from a synthesis view of the interaction between the historiography of the modern movement and the historical and cultural context in which professionals were inserted in that precise historical moment. Thus, the objective of the research will be to demonstrate that these cultural exchanges, developed with the American cultural and architectural milieu, were significant for the establishment of new guidelines in the formulations of Modern Brazilian Architecture, an approach still little valued by historiography. (AU)
