Displayed audacity4/25/2023 Aurélio initiated his working life as a delivery boy, attending commerce school and becoming an accountant. Unwilling to allow his children to swear to the flag, he removed them from school while still young, and they began homeschooling. Their mother was Catholic (so much so that the brothers built her a building to live in, in Pompéia, right next to a church) their father was an atheist and an anarchist who worked at General Motors and was fired in the wake of the Great Depression in 1929. The brothers who would come to be business partners at Monções were the children of Ramon and Maria Dolores, Spanish immigrants from Málaga. This is, therefore, a work of fiction controlled and founded by memories, emotions, and gestures by those who knew him intimately and participated in crucial moments, especially during times of crisis at the construction firm. I posit the following essay, however, based on the accounts of family members, with whom I’ve visited with during recent months (in addition to Diva, several times I spoke with Silvia and Marco Aurélio Jurado, Aurélio’s children Luli Penna and Teca Eça, Aurélio’s granddaughters), drawings and photographs from the family archive that I had access to, and, also, based my own experience with his buildings. This helps to explain the scant bibliographic material about Monções, as well as the general academic uninterest with his supposed bad taste and disregard for the academic canons of architecture. Shying away from the stereotype of the creative artist and intellectual, he neither read nor wrote habitually. Neither did he keep notes and sketches in diaries, nor did he leave behind a library of his referenced books and documentation. He took pleasure in every detail of the buildings, whether under construction or handed over to the new owner, thoroughly drawing them and disseminating them to exhaustion even after they were ready and oftentimes had even already been sold.Īrtacho Jurado practically gave no interviews. Artacho and his family lived in several of the buildings that he designed. Photography would serve architecture in two ways: firstly, to portray it as an aesthetic object secondly, to promote a lifestyle, as well as revealing the emotional and familial relationship with which Artacho treated his buildings. Artacho maintained long relationships of trust and friendship with his employees, the possible subject of another series of interpretations. 1 In other images appear the employees of Monções, all of them invited annually along with their families to Christmas parties, which always took place at the Louvre building, with clowns and performers and presents for all. Diva, the only daughter of João and Mercedes, often appears in the images cutting the opening ribbon at inaugurations, which were attended by politicians and movie and television stars. Differing greatly from typical photographs of twentieth-century architecture – which often portray formal encounters, the accuracy of physical dimensions, and the beauty of certain buildings – the photographs of the buildings designed by João Artacho Jurado and executed by Aurélio Jurado Artacho, the brothers and business partners of Construtora Monções, display poses of their family members dressed in gala attire, highlighting the details of their work.
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