{"id":8655,"date":"2013-01-23T01:13:15","date_gmt":"2013-01-23T04:13:15","guid":{"rendered":"http:\/\/puntoni.28ers.com\/?p=8655"},"modified":"2015-10-16T21:31:32","modified_gmt":"2015-10-17T00:31:32","slug":"homenagem-a-oscar-via-stamo-papadaki","status":"publish","type":"post","link":"https:\/\/puntoni.28ers.com\/2013\/01\/23\/homenagem-a-oscar-via-stamo-papadaki\/","title":{"rendered":"Homenagem a Oscar via Stamo Papadaki"},"content":{"rendered":"

Mesmo hoje, ap\u00f3s mais de sessenta anos, o estudo inicial de Stamo Papadaki sobre a obra de Oscar Niemeyer (o primeiro livro sobre Arquitetura Moderna que comprei) \u00e9 uma permanente fonte de inspira\u00e7\u00e3o para mim. Aquela foi a vis\u00e3o de uma modernidade totalmente diversa, que ent\u00e3o, como hoje, era n\u00e3o apenas a apoteose do Movimento Moderno brasileiro mas tamb\u00e9m, ao mesmo tempo, uma representa\u00e7\u00e3o simb\u00f3lica da promessa em curso do Brasil como um todo. Este modelo de uma modernidade completamente distinta e verdadeiramente libertadora seria igualmente bem documentada \u00e0 \u00e9poca pela principal revista inglesa The Architectural Review<\/em>, e pela L\u2019Architecture d\u2019Aujour d\u2019Hui<\/em>. Os editores daquelas revistas apoiaram totalmente o vocabul\u00e1rio neocorbusiano p\u00f3s-purista de Niemeyer e ajudaram a tornar sua obra conhecida no mundo.<\/p>\n

Na tentativa de fazer justi\u00e7a \u00e0 contribui\u00e7\u00e3o de Niemeyer no auge de sua capacidade \u2013 i.e. a sua brilhante reinterpreta\u00e7\u00e3o da planta livre corbusiana \u2013 n\u00e3o sabemos o que deve ser mais louvado. O seu g\u00eanio evidente e sua simplicidade como o idealizador de um espa\u00e7o hedonista, ou a infinitamente fluida paisagem tropical que ele inventou em sua colabora\u00e7\u00e3o de toda a vida com o paisagista Roberto Burle Marx.<\/p>\n

Nesse momento da hist\u00f3ria, em que n\u00f3s parecemos perder todo o sentido daquilo que Hannah Arendt uma vez chamou de \u201cespa\u00e7o da apar\u00eancia humana\u201d, o melhor da obra de Niemeyer sobressai como uma constante lembran\u00e7a do que significa criar uma representa\u00e7\u00e3o monumental verdadeiramente articulada do espa\u00e7o humanista (compar\u00e1vel ao espa\u00e7o da Gr\u00e9cia Antiga), como no caso do peristilo monumental que embeleza o interior da entrada do Minist\u00e9rio da Educa\u00e7\u00e3o no Rio de Janeiro.<\/p>\n

Algo semelhante pode ser visto na maquete e plantas do edif\u00edcio sede da Empresa Gr\u00e1fica O Cruzeiro<\/em>, de 1949. N\u00e3o se sabe qual caracter\u00edstica mais admirar. Talvez o brilhante rigor tect\u00f4nico da malha de colunas que, como sistema estrutural, sustenta toda a massa c\u00fabica de onze andares. Ou a habilidade simples e a ingenuidade com que o primeiro e o segundo pavimentos s\u00e3o orquestrados para acomodar, com toda a facilidade, tanto o atendimento ao p\u00fablico no n\u00edvel do ch\u00e3o, na rua abaixo, quanto o tr\u00e1fego comercial de caminh\u00f5es no fortemente carregado segundo pavimento. Acresce que o conjunto seria fechado (pelo menos na proposta) por uma pele de brise-soleil habilmente ritmada. \u00c9 precisamente neste ponto que duvidamos da cis\u00e3o ideol\u00f3gica que supostamente divide o rigor da tradi\u00e7\u00e3o paulista da Escola Carioca de Lucio Costa. Neste trabalho monumental singular, Niemeyer transcende totalmente a aparente divis\u00e3o entre as duas maneiras brasileiras de pensamento e pr\u00e1tica. Este edif\u00edcio simples, pragm\u00e1tico, mas ainda assim monumental, \u00e9 o testemunho, no meu ponto de vista, da grandeza abrangente do melhor de Niemeyer, e do mais profundo significado do legado cultural que ele deixa.<\/p>\n

$\"Empresas$ <\/a><\/p>\n

Por fim, devemos admitir que, \u00e0 \u00e9poca em que ele voltou sua m\u00e3o para Bras\u00edlia, a inspira\u00e7\u00e3o de sua melhor obra j\u00e1 havia passado. Por isso, em \u00faltima an\u00e1lise, ficamos com sua capacidade inicial incompar\u00e1vel. Ela, somada ao compromisso pol\u00edtico de suas cren\u00e7as de 1949, s\u00e3o um testemunho, mesmo agora nessa hora p\u00f3s-moderna, do chamado libertador original da arquitetura moderna no seu auge.<\/p>\n

\n
Kenneth Frampton \u00e9 arquiteto, cr\u00edtico e historiador de arquitetura.
\nAutor de Hist\u00f3ria Cr\u00edtica da Arquitetura Moderna.<\/em><\/p>\n
\n
_<\/span><\/p>\n
Homage \u00e0 Oscar via Stamo Papadaki<\/h2>\n
Even now after more than sixty years, Stamo Papadaki\u2019s initial study of the work of Oscar Niemeyer (the first book on modern architecture that I ever purchased) remains a source of enduring inspiration for me. This was the vision of a totally other modernity which then as now was not only the apotheosis of the Brazilian modern movement but also at the same time a symbolic representation of the progressive promise of Brazil as a whole. This model of a totally other, truly liberative modernity would be equally well documented at the time by the British leading magazine The Architectural Review<\/em> and by Andr\u00e9 Bloc\u2019s L\u2019Architecture d\u2019Aujourd\u2019hui<\/em>. The editors of these magazines put their full weight behind Niemeyer\u2019s post-Purist, Neo-Corbusian vocabulary and helped to make it nominally available to the world.<\/p>\n
In aspiring to do justice to Niemeyer\u2019s contribution at the height of his power\u2014 i.e. to his brilliant re-interpretation of the Corbusian free-plan\u2014 one does not know quite which to celebrate the most, his evident genius and simplicity as a planner of hedonistic space or the infinitely flowing tropical landscape that he invented via his life-long collaboration with Brazilian botanist-designer Roberto Burle Marx.<\/p>\n
At this moment in history, when we seem to be losing all sense of that which Hannah Arendt once called \u201cthe space of human appearance\u201d, Niemeyer\u2019s finest work stands out as a constant reminder as to what it means to create a truly articulate, monumental representation of humanist space (comparable to the space of ancient Greece) as in the case of the monumental peristyle that graces the interior of the entry to the Ministry of Education in Rio de Janeiro.<\/p>\n
Something similar may be witnessed in the model and plans of the Empresa Gr\u00e1fica O Cruzeiro<\/em> publishing house printing works of 1949. Herein one does not know which feature to admire most, whether it is the brilliant tectonic rigor of the columnar grid which, as a structural system, sustains the entire eleven storey cubic mass or, say, the sheer skill and ingenuity with which the ground and second floors are orchestrated so as to accommodate, with the greatest ease, both public facilities at the lower grade level and commercial trucking at the heavily loaded second floor. In addition, the whole was to be clad (at least as a proposal) in a brilliantly syncopated brise soleil skin. It is just at this juncture one might have doubts about the implacable ideological schism supposedly dividing the absolute rigor of the Paulista<\/em> tradition of Artigas from Lucio Costa\u2019s school of Rio de Janeiro. In this singular monumental work, Niemeyer will totally transcend the seeming division between the two modes of Brazilian thought and practice. This simple pragmatic but nonetheless monumental building testifies, in my view, to the comprehensive greatness of Niemeyer in his prime and to the deeper significance of the cultural legacy he leaves behind.<\/p>\n
In the end, one has to concede that by the time he turned his hand to Brasilia the felicity of his finest work had already passed. Thus, in the last analysis, we are left with his unmatched initial capacity plus the political commitment of his credo of 1949 that testifies, even now, in this post-modern hour, to the original liberative calling of modern architecture in its prime.<\/p>\n
\n
Kenneth Frampton is an architect, architectural critic and historian.
\nAuthor of Modern Architecture: a critical history.<\/em><\/p>\n
\n
Veja todas as mat\u00e9rias da s\u00e9rie Oscar Niemeyer 1907-2012<\/a>
\n See all the texts in the series Oscar Niemeyer 1907-2012<\/a><\/p>\n
Veja todas as mat\u00e9rias sobre Oscar Niemeyer j\u00e1 publicadas na revista MDC<\/a>
\n See everything on Oscar Niemeyer published on MDC magazine<\/a><\/p>\n
Tradu\u00e7\u00e3o: Danilo Matoso
\nColabora\u00e7\u00e3o editorial: Luciana Jobim
\nImagens: Papadaki, Stamo. The work of Oscar Niemeyer. 2ed. New York: Reinhold, 1951. (1ed. 1950).
\n<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"
Kenneth Frampton<\/p>\n","protected":false},"author":6206942,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[23539100,3919,131443376],"tags":[1271633,9751854,38312500,960692],"class_list":["post-8655","post","type-post","status-publish","format-standard","hentry","category-kenneth-frampton","category-opiniao","category-oscar-niemeyer-1907-2012","tag-arquitetura-moderna","tag-arquitetura-moderna-brasileira","tag-modern-brazilian-architecture","tag-oscar-niemeyer"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/plwdR-2fB","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/posts\/8655","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/users\/6206942"}],"replies":[{"embeddable":true,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/comments?post=8655"}],"version-history":[{"count":25,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/posts\/8655\/revisions"}],"predecessor-version":[{"id":9249,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/posts\/8655\/revisions\/9249"}],"wp:attachment":[{"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/media?parent=8655"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/categories?post=8655"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/tags?post=8655"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}