A Visit to Paulo Mendes Da Rocha's Studio

7/27/2019 A Visit to Paulo Mendes Da Rocha's Studio

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20/07/14 15:58it 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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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,
http://en.wikipedia.org/wiki/Universidade_Presbiteriana_Mackenziehttp://en.wikipedia.org/wiki/Paulo_Mendes_da_Rocha


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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
http://en.wikipedia.org/wiki/Pinacoteca_do_Estado


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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
http://en.wikipedia.org/wiki/FAU-USPhttp://en.wikipedia.org/wiki/Jo%C3%A3o_Batista_Vilanova_Artigashttp://en.wikipedia.org/wiki/Club_Athletico_Paulistano


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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


hotography


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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A Visit to Paulo Mendes Da Rocha's Studio

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