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09jaargang 23

3 05 2007

8/3/2019 Aquino Haraldsson Shanski ZE LINO

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Casa Vertigo presenteert de tentoonstelling Zé

Lino [Copan Projects]. De tentoonstelling gaat

over het bekende Copan gebouw in São Paulo,

dat is ontworpen door Oscar Niemeyer, en werd

gebouwd tussen 95 en 966, en waarin anno

2007 5000 mensen wonen. Hierbij de toelichting 

 van de tentoonstellingsmakers, die zelf een tijd-

lang in dit gebouw hebben gewoond.

Inhoud

Onderwijs 4

•Colloquia 4•Diplomauitreiking,afgestudeerden Bouwkunde8mei2007 5•Japanesescholarships 5

•OpdrachtenBouwkundeWinkel 6

Ter informatie 6

•Vacatures 6•Aanmeldenexamens 7•Personeelsmutaties 7•Nieuwarchitectuurforumteam 8•SymposiumVDCM2007-Creatief  vragenenaanbieden-Donderdag 7juni2007-AuditoriumTU/e 8

CHEOPS 0

8/3/2019 Aquino Haraldsson Shanski ZE LINO

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3

Zé Lino [Copan Projects]spmb_projects[EduardoAquino&KarenShanski]withArniHaraldsson

Can things take on a face? Is not art an activity that lends faces to things? Does not the façadeof a house regard us? Emmanuel Levinas

Every cityscape is a function of the city imagined. If you want to understand a development, it’sno good standing outside the process; you have to wade into it. You have to allow yourself to bedeveloped by the developments. From the outside, you see only the movements: what stands still,what shifts, what disappears. From the inside, you detect the transformations: what directionthings are going in, what is changing and what new things are emerging. Arjen Mulder 

We are not suffering from emptiness, but of adequate means to think about everything that ishappening. Michel Foucault

ZéLino[CopanProjects]isabout,within,andwithouttheCopanbuildinginSãoPaulo,Brazil.Locatedattheheartofoneoftheworld’smegacities,theCopanwasbuiltbetween1951and1966andhassinceachievedthestatusofamasterworkofModernurbanismbyBrazilianarchitectOscarNiemeyer-anexperimentthatexposesthedichotomyofmodernity.Inmanyaspectsthebuildingworks,inothersitmaybeconsideredachronic

predicament.Whilesurvivingallchanges,theCopanbuildingrepresentsthesimultane-ousimageoffailureandsuccessoftheModernproject,ahistorybetweendebilitationandrehabilitation.5,000peopleliveintheCopantoday.Thefacilitiesatthelowerfloorsincludeparking,publicpassageways,communityareas,cafes,restaurants,videoarcades,clothingandgrocerystores,barbershops,dressers,pizzaparlours,offices,achurch(pre-viouslyamovietheatre),etc.,makingthebuildingvirtuallyself-sufficient-aquasiverti-calcity.Theresidentialsectionsextendtothe32ndfloorandrangefromsmallstudiostofourbedroomapartments,creatingacomplexsocialfabric.Theprojectstartedfromourdirectlivingexperiencewithinthisurbanpieceofinfrastructure.Inthiswaytheprojecthasbeenconceptualized,generated,defined,andproducedfrominside-out,makingussubjectsandobservers.Fromthispositionwehavecreatedadialoguebetweenitsplayers-inhabitants,workers,andtemporaryusers-andthecity.

ForCasaVertigowehaveselectedaseriesofpiecesthatchallengenotionsoftraditionalrepresentationinarchitecture.ASMANYDESIRES,acollaborationbetweentheartistsandthecommunity,generated300postcardswheretheinhabitantsareportrayedsimul-taneouslywiththebuilding.InZONEONE-COPAN,awalkthroughinundisclosedspacesrevealsthebuilding’sentrails.24HOURSCOPANrecordedonedayinthelifeofthisurbaninfrastructure.FACE&BACKisajuxtapositionofthedisparate,divergentnorthandsouthfaçadesofthebuilding.AseriesofphotographsbyArniHaraldssonfurtherexposesthecontradictionsofthearchitecture.ButperhapstheprojectthatmostsynthesizesourexperienceistheprojectionZÉLINO.JoséLino,aself-employedworkeroftheCopanformorethan40years,cleanstheglassfaçadeofoneoftheapartments,locatedinthehighestfloor.ZéLino,asheisknown,climbsthe32floorsofthebuildingfromthefaçadewithoutanysafetyapparatus,makingoftheCopanhissecondskin,anextensionofhisbody.Thefilm,shotinadoublecamerapanorama,discoursesontheconcurrencebetweenthebody,thebuilding,theinteriorspaceandtheouterurbanscape,coalescingtherelationbetweentheindividual,thearchitectureandthecity.

ZéLino[CopanProjects]movesawayfromtheartist’sstudio,theartinstitution,thearchitect’soffice,orthephotographer’sstudiointothecityandconnectsdirectlywiththepublicspaceandthearchitecture.Thealterationoftheeverydayroutinethroughobservation,critiqueandcelebration,indicatesthepossibilitiesofnewmeanings,wheretheartist/architectdeviseacriticalpositioningbyreadingintoanexistingcondition,respondingtoafoundsituation.Settingupparametersofengagementhelpedtheinter-actionwiththe5000+peopleinvolvedwiththebuilding.Theprojectencompassedper-formanceacts,architecturalpropositions,photographicexplorations,observation,criticalwritings,installationprojects,reflectivediagramming,interviewing,filmandvideo.ThepresentexhibitionatCasaVertigocollectsanddiscussestheworkrealizedduringtheperiodoftwoyearswhenalltheauthorslivedinthebuilding.Theprojecthasbecomeatranslationofthebuildingasaformofvisualcritiquethroughthevariousmodesofrepresentationfound,producingarenewedreflectionofthebuildingwithinthecity,andthecitywithinthebuilding.Theprojectmapsthemultiplecharacterofanidentifiednetworkorsystembymultiplyingtheintricatesocialandoperationalmechanismsofthe

building,notthroughasinglewayofseeingbutthroughthemultilayeredmodesoftheprocess.Itisnotaliteraltranslationofwhosaidwhat,orwhichvoicefollowseachface.Morethanthistheprojectrepresentsoneamongmany,theindividualandthecollective,ever-changingandshiftingdirections.

Historically,theCopanhasbeenrecognizedpredominantlythroughimagesofitsfront

façade.Butwhatliesbeyondthefaçade?Thefaçadeisamask.Removingthemaskweseetheface.Thatface,thosefaces,howeverdifferent,resembleusasweresemblethem.Seeingandknowingtheface,weseeandknowourselves.Theperimetershavebeenextendedbeyond

limitation.WelookattheCopanbuild-ingastheCopanlooksatusandinthatexchangetheworldrevealsitself.Weinvestintheperceptionofthatimagefromwithinandfromwithout.By‘image’oneistoconsiderthepossibil-ityofanexchangeordialoguetakingplacebetween,forthemomentatleast,theperceivedandtheperceiver,orbet-teryet-viewerandsubject.Thefrontfaçadepresentsafascinatingundulatingrhythm,makingthebuildingmassmovesimultaneouslyforwardandbackward,betweenappearanceanddisappearance.Beyondimagesthereremainsthequest

forthebuildinganditsinhabitation,ramificationsthatformtheunseencom-plexitiesofthecity.

E.AquinoA.HaraldssonK.Shanski

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