Of this form, Alcade (1985) observes a similarity enters the structural system of the gtica architecture with the modernista architecture, where both possess not structural walls that can be transformed. Into the case of the modernista architecture, these can be transformed into glass walls. It is had that the European modernistas had faced difficulties to work with the new technologies of the modernista architecture, a time that confused the technology with a cultural problem, relating the changes of style with the technological changes. Brawne (1960) already affirmed that the concern of the Bauhaus was with the rational production of the object and not with the user, as for example, when searching the way simplest to produce a lights without if worrying with the light that happened in its eyes. On the other hand, century XX assumes the importance of the light, claim this carried through during the previous century. Cremonini (1992) quotation that the new period was characterized by new technologies, as the plain glass – allowing innumerable possibilities related with the compositivo direction of the workmanship; brise- soleil and the light shelves? dialoguing construction with the natural light by means of a glass skin. The author also emphasizes the importance of the light in century XX, that he left of side the symbolic significaes and followed route to a impressionista vision. According to Mascar (2005), another technological advance of utmost importance for the illumination of interior spaces in the architecture was launched in the end of the decade of 1940, with the incorporation to the market of the light bulb of fluorescent pipe for artificial illumination, which, together with the light bulbs of gas discharge, existed potentially since the start of century XX. For the project architectural, this innovation represented the creation of rectangular low plants with spaces integrated through the luminous lining, with the land installations and the circulaes placed in the center of the rectangular plant.