A Visit to Paulo Mendes Da Rocha's Studio
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Kimberlie Birkswrites on art's interest in architecture and the way that it structures public space
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Author
arlos Brillembourg Tamayo
hotography
arlos Brillembourg Tamayo
ublished
2 January 2013
ocationo Paulo
Sections
Architecture
Keywords
aleijadinho, Alfonso Riedy, Antonio Francisco
Lisboa, Biennale d'arte di San Paolo, Carlos
Raul Villanueva, Henrique Midlin, Jorge Moreira,
Joo Vilanova Artigas, Lina Bo Bardi, Lucio
Costa, Marcelo e Milton Roberto, Mies van derRohe, Oscar Niemeyer, Paulistano Athletic Club,
Paulo Mendes da Rocha
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AvisittoPaulo Mendes da
Rocha's studioCarlos Brillembourg recounts his encounter with the Brazilian master, still practicing
and teaching at 83, firmly convinced that architecture is a "sublime statement of
human dignity".
Architecture / Carlos Brillembourg Tamayo
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Seen from the air, So Paulo seems orderly a continuous urban
grid that is centered on the two rivers that flow east-west and
north-south, regardless of the continuous change of the
elevation of its many hills. Here, Le Corbusier's urban proposal
for So Paulo from 1929 is stuck in my head. Even the numerous
shanty towns seem to have roads and infra-structure for the most
part. A quick image of the city is impossible. What is striking isthe endless horizon of thirty story buildings placed on these
gentle hills as we drive slowly on the highways towards the
center of the town.
On Monday, September 3, 2012, I call Paulo Mendes da Rocha's
office and his secretary of many years, Dulcinea, tells me that
Paulo Mendes da Rocha has a full schedule on this very busy
week, which includes the opening of the So Paulo art Bienal.Later that day I meet my friend, professor and historian Ruth
Verde Zein at an old caf near Universidade Presbiteriana
Mackenziewhere she teaches. She calls the Mendes da Rocha
office and an appointment is settled for 5:30 that afternoon.
Paulo Mendes da Rocha is a polite and elegant man. The office
space is an open plan with round circular columns and a steel
curtain wall in a 1940's building near the Praza de la Republicain So Paulo. Our conversation at the conference table shifted
between architecture and politics. He took me by surprise when I
mentioned the 18th Century sculptor, furniture maker and
architect Aleijandinho (Antonio Francisco Lisboa 1738-1814). In
his view, the colonial epoch including the uniquely Brazilian
Baroque architecture was irrelevant and unworthy. "Those
horrible sculptures made out of wood that is rotten from the
inside," he said. Mendes' complete rejection of the value ofBrazilian Baroque was heartfelt. It is ironic that Aleijandinho
means "little crippled one". The illegitimate son of his architect
father was trained as an assistant but not recognized in his will.
Aleijandinho from Ouro Preto was the architect and sculptor of
the most important baroque architecture in all the Americas. His
architecture understood the radical nature of Baroque space
indebted to Borromini and very different than the planar baroque
of the Mexican or Peruvian with its exuberance of surfaceornamentation. Later I understood why this view expressed by
Mendes was essential to his view of Brazilian culture. For him,
the entire American continent was a frontier of artistic freedom,
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removed both from the tragic history imposed by the Colonial
enterprise and the weight of European history.
Top: Aerial view of So Paulo, Brazil. Above: San Francisco Church in Ouro Preto, Brazil
Paulo Mendes da Rocha dismisses architecture concerned
with surface spectacle and the photographic image of "new
architecture". In his working process he works directly in hard
line drawings in plan and section that are tested by making hand
cut wooden or cardboard models. When we discuss hiscelebrated renovation of the Pinacotecahe says, "I did nothing, it
was a good building to begin with, I just had to remove some of
the decorative layers and then transform the rigid Palladian plan
by covering the courtyards and introducing a new circulation
that crosses the middle of these voids with new steel walkways
and an elevator". This is not false modesty but an example of the
clarity with which Mendes views the potential of architecture to
transform the existing conditions of the site. In this case, a 19thcentury building.
Paulo then asks me: "Do you like whisky?" and as we move to his
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Joo Batista Vilanova Artigas: FAU So Paulo
University
desk area behind the bookshelves, another conversation begins
as he lights up a cigarette and we share some scotch. He tells me
about his father the engineer and how his parents were
introduced. His father worked on the design and construction of
a bridge in Southern Brazil in the first decade of the 20th
century, all of which was done by oxen and manual labor. When
Paulo decided to study architecture his father was a well-established engineer who was teaching at the University of So
Paulo. He did not want to study at the same university where his
father taught and decided to study architecture and not
engineering at the Mackenzie University, a school established by
the Scottish engineers, who built most of the railroads
throughout the country so their children could learn a profession
in a university that was not Catholic. A couple of years after
graduating, he won the competition for the Paulistano AthleticClub(So Paulo 1958). This building gave national reputation to
this young architect as an innovative and capable of using
advanced reinforced concrete and steel structures. In this case,
using a sculptural concrete base for the amphitheater as the
anchor for a steel cable structure that in turn holds the metal
truss roof.
At this time, Joo Vilanova Artigas ten years his senior
and the most influential teacher/architect/engineer of his
generation invites him through a proxy to be his teachingassistant at the University of So Paulo in FAU. This relationship
of thirty years teaching together was important for both. One
could argue that the transition in Artigas work from the
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Wrightian influence of his early work to the raw structure based
concrete work was not only a result of his knowledge as
engineer/architect but perhaps also the influence of his close
friend and co-teacher Paulo Mendes da Rocha. After a second
whisky, we discuss his relationship to Artigas at the University of
So Paulo, and to his father, the engineer and professor. Artigas
was a founder of the Communist party and dedicated many yearsto this political activity as his practice changed from private
houses to more institutional work. Paolo Mendes da Rocha's
politics were influenced by this close friendship but his creative
temperament was not as severe as Artigas's more radical stance.
That said, they probably did not disagree on the fundamental
ideas of a Marxist critique of capitalism and most likely both
regarded the architect's primary responsibility as a progressive
agent of cultural transformation: as a professor in Artigas'extraordinary School of Architecture, or as an architect
interpreting the program and the site given by the client.
Although labeled brutalist, Mendes da Rocha's work
could be more accurately characterized as
essentialist, through his insistence on theabstraction and reduction of architecture toward a
highly refined poetic space.
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Joo Batista Vilanova Artigas: FAU So Paulo University
Since the 1930s a strong modernist culture flourished in
Brazil and produced a large and influential group of artists and
architects who were united in their vision for a better future for
Brazil. During the early 1950s Mendes da Rocha and others were
part of an architectural avant-garde based in So Paulo that
advocated for an architecture different from the Carioca (Rio de
Janeiro) school, led by Lucio Costa, Oscar Neimeyer, JorgeMoreira, Marcelo and Milton Roberto, Alfonso Riedy, and
Henrique Midlin. The European architect most admired by the
Paulista School was Mies Van der Rohe, rather than Le Corbusier.
Although concrete was the common building technology
throughout Brazil during that period, they built experimental
structures that combined concrete and steel construction
methods, including innovative pre- and post-tensioned steel
reinforcement. By 1951 the Sao Paolo architects established theArchitecture Bienal of Sao Paolo and exhibited the work of
important architects such as Carlos Raul Villanueva, Le
Corbusier, Mies Van der Rohe, Walter Gropius, Max Biel, Paul
-
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Rudolph, among others. In the 1960s the group expanded and
consolidated as the Paulista architects whose leading figures
were Lina Bo Bardi, Joo Batista Villanova Artigas, Paulo Mendes
da Rocha, Pedro Paulo de Melo Saraiva, Ruy Ohtake, and
Joaquim Guedes.
Paulo Mendes da Rocha: Pinacoteca do Estado de So Paulo, Brazil
Although labeled "brutalist," Mendes da Rocha's work
could be more accurately characterized as "essentialist," through
his insistence on the abstraction and reduction of architecture
toward a highly refined poetic space. The floating steel canopy of
his Patriarch Plaza (So Paulo, 19922002) offers a monumental
entrance to the subway, and has become an important civic
structure, creating an urban center in an amorphous andsprawling city. The thin sections of steel that make up this
canopy hover above the plaza like a generous wing. His
architectural language is never literal; this solution springs from
-
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need to offer shelter, in a poetic expression of civic values that is
reminiscent of the aspirations of the work of Louis Kahn who
said, "needs are just so many bananas." Perhaps his most
surprising project is the State Museum Pinacoteca of So Paulo of
1993. This renovation/restoration of a late 19th Century School
of Arts and Crafts could be compared to Scarpa's Castelvecchio
Museum in Verona in its radical approach to the originalbuilding, but the important difference is that instead of Scarpa's
obsessively unique solutions, Mendes da Rocha's interventions
are restrained to the minimum of expressiveness, contrasting the
stripped down shell of the Beaux-arts building with abstract steel
catwalks within the luminescent skylight spaces of the old
interior courtyards.
Paulo Mendes da Rocha: MUBE, Brazilian Sculpture Museum, So Paulo, Brazil
The architect, still practicing and teaching at 83,
gradually turned away from doctrinaire structural expressiveness
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towards a subtle architecture of refined structures in steel or
reinforced concrete that are inflected to accommodate different
spatial conditions. Through his work for state sponsored projects
such as sport stadiums, museums and large scale civic projects,
he has been able to put into practice his belief that architecture is
a "sublime statement of human dignity". This brief encounter left
me with a profound impression of a man whose commitment toarchitecture was equal to his commitment to "humanist" values.
Even when he was confronted by the severe hardships imposed
by a military government, Paulo Mendes da Rocha the teacher
and architect, fought for an architecture that can suspend time
in the sense that all great architecture seems to remain timeless
and always relevant to the present while building the
institutions for a just society in a continent of endless frontiers.
Paulo Mendes da Rocha: prtico de la Praa do Patriarca, So Paulo, Brazil
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Author
arlos Brillembourg Tamayo
hotography
arlos Brillembourg Tamayo
Sections
Architecture
Keywords
aleijadinho, Alfonso Riedy, Antonio Francisco
Lisboa, Biennale d'arte di San Paolo, Carlos
Raul Villanueva, Henrique Midlin, Jorge Moreira,
Joo Vilanova Artigas, Lina Bo Bardi, Lucio
Costa, Marcelo e Milton Roberto, Mies van der
Rohe, Oscar Niemeyer, Paulistano Athletic Club,
Paulo Mendes da Rocha
Location
So Paulo
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20/07/14 15:58it to Paulo Mendes da Rocha's studio
Pgina 11 de 13//www.domusweb.it/en/architecture/2013/01/22/a-visit-to-paulo-mendes-da-rocha-s-studio.html
Arena CorinthiansDesigned by CDC Arquitetos and DDG Arquitetura, the Arena Corinthians in Itaquera, near So Paulo,
hosted the opening of the 2014 FIFA World Cup in Brazil.
News / Marcus Bredt
Muntadas: Baixa A Bola!Antoni Muntadas exhibition at Galeria Luisa Strina takes its name from a football move (to play low)
that turned into a popular expression in Brazil, meaning take it easy.
News
New Cities SummitUnder the theme of Human City,the New Cities Summit 2013 will bring 93 speakers from 17 countries
to So Paulo, leading debate on the future of the urban world.
News / Marianne Pallez
http://www.domusweb.it/en/search.html?type=photographer&key=Marianne+Pallezhttp://www.domusweb.it/en/news.htmlhttp://www.domusweb.it/en/news/2013/06/3/new_cities_summit.htmlhttp://www.domusweb.it/en/news.htmlhttp://www.domusweb.it/en/news/2014/07/03/muntadas_baixa_a_bola_.htmlhttp://www.domusweb.it/en/search.html?type=photographer&key=Marcus+Bredthttp://www.domusweb.it/en/news.htmlhttp://www.domusweb.it/en/news/2014/07/04/arena_corinthians_.htmlhttp://www.domusweb.it/en/news/2014/07/03/muntadas_baixa_a_bola_.htmlhttp://www.domusweb.it/en/news/2014/07/04/arena_corinthians_.html -
7/27/2019 A Visit to Paulo Mendes Da Rocha's Studio
12/13
20/07/14 15:58it to Paulo Mendes da Rocha's studio
Pgina 12 de 13//www.domusweb.it/en/architecture/2013/01/22/a-visit-to-paulo-mendes-da-rocha-s-studio.html
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7/27/2019 A Visit to Paulo Mendes Da Rocha's Studio
13/13
20/07/14 15:58it to Paulo Mendes da Rocha's studio