1940s and 1950s thumb|left|upright|Headquarters of the Banco Mineiro da Produção, Belo Horizonte With the success of Pampulha and the Brazil Builds exhibition, Niemeyer achieved international recognition. His architecture further developed the Brazilian style that the Saint Francis of Assisi Church and, to a lesser extent (due to its primary Corbusian language) the Ministry building, had pioneered. Works of this period shows the traditional modernist method in which form follows function, but Niemeyer's (and other Brazilian architects) handling of scale, proportion and program allowed him to resolve complex problems with simple and intelligent plans.Fabiano Lemes de Oliveira. Sigfried Giedion e o caso Brasileiro: uma aproximação hirtoriográfica., Universitat Politècnica de Catalunya. Retrieved December 8, 2012 Stamo Papadaki in his monography on Niemeyer mentioned the spatial freedom that characterized his work. The headquarters of the Banco Boavista, inaugurated in 1948 show such an approach.INEPAC. Guia de Bens Tombados Dealing with a typical urban site, Niemeyer adopted creative solutions to enliven the otherwise monolithic high rise, thus challenging the predominant solidity which was the norm for bank buildings.Philippou, Styliane (2008) Oscar Niemeyer: Curves of Irreverence. Yale University Press. . p. 129 The glazed south façade (with least insulation) reflects the 19th century Candelária Church, showing Niemeyer's sensitivity to the surroundings and older architecture. Such austere designs to high rises within urban grids can also be seen in the Edifício Montreal (1951–1954), Edifício Triângulo (1955) and the Edifício Sede do Banco Mineiro da Produção.
1940s and 1950s thumb|left|upright|Hea:dquarters of the Banco Mineiro da Produção, Belo Horizonte With the success of Pampulha and the Brazil Builds exhibition, Niemeyer achieved international recognition. His architecture further developed the Brazilian style that the Saint Francis of Assisi Church and, to a lesser extent (due to its primary Corbusian language) the Ministry building, had pioneered. Works of this period shows the traditional modernist method in which form follows function, but Niemeyer's (and other Brazilian architects) handling of scale, proportion and program allowed him to resolve complex problems with simple and intelligent plans.Fabiano Lemes de Oliveira. Sigfried Giedion e o caso Brasileiro uma aproximação hirtoriográfica., Universitat Politècnica de Catalunya. Retrieved December 8, 2012 Stamo Papadaki in his monography on Niemeyer mentioned the spatial freedom that characterized his work. The headquarters of the Banco Boavista, inaugurated in 1948 show such an approach.INEPAC. Guia de Bens Tombados Dealing with a typical urban site, Niemeyer adopted creative solutions to enliven the otherwise monolithic high rise, thus challenging the predominant solidity which was the norm for bank buildings.Philippou, Styliane (2008) Oscar Niemeyer: Curves of Irreverence. Yale University Press. . p. 129 The glazed south façade (with least insulation) reflects the 19th century Candelária Church, showing Niemeyer's sensitivity to the surroundings and older architecture. Such austere designs to high rises within urban grids can also be seen in the Edifício Montreal (1951–1954), Edifício Triângulo (1955) and the Edifício Sede do Banco Mineiro da Produção.