Reidy: dois projetos, dois países e um princípio

This article presents reflections concerning the systematicity in Affonso Reidy's works. It’s understands each other for sistematicidade, in this case, the development in a way of projecting that it can solve the largest possible number of relative subjects to the plastic surgery and the structural system, independent of the involved architectural theme. In the work the use of the concrete will be analyzed in two specific works - the Escola Brasil-Paraguai (1952) and MAM (1953) - whose plastic possibilities and you structure they are made possible through drawing differentiated that solves so much structure, as space and protection elements, could be applied inside in a systematic way of the work. In the School, the architect organizes your project in the bar that contains the spaces seriais (the program presents an organization that is revealed in the own structure, through the repetition of the class rooms, for instance) and he reserves for the special activities (gym and auditorium) a solution differentiated volumétrica, using in both a special drawing. Already in the museum, even without the serialidade to be linked to the program, the bar organizes the space and, through a structure that have lines and interrupted hibs and serial, it supplies a differentiated character, offering prominence to the bar, placing it in evidence, through your structure. So much in the school, as in the first or in the built version of the museum has, in the drawing of the porch, a space for the production of an element with sculptural aspects, what gives to the material and the structure a relevance in the group, mainly when, it is noticed the flexibility of the concrete as element capable to win empty spaces of different orders and to assume a varied fan of formal configurations. Although it is possible to observe the approach to the influence, through the use of apparent concrete, it is not this reference that defines the importance of Reidy, but the way in that your projects are 2 developed, transcending this filiation. It’s projects appear in a restricted amount of elements that are being recombinant and developed, in different way in each private situation. The universal element of that repertoire is the lineal building, usually a rectangular block that he/she appears in several sizes, heights and sections, used in an isolated way, combined with other, bent or curved to adapt it to the program or the ranch. The repertoire proposed for Le Corbusier gradually it is refined and it enlarges in the Brazilian architects' works and in the work of Reidy that is not different, in the measure in that faces in a differentiated way each specific architectural program. In each project, not just the sistematicidade and it structures adopted they offer full meaning to the work, but also of the established relationships between program and place, as well as it structures and party. The crucial step in each project of Reidy seems to be the establishment of formal relationships and you work among the parts, as well as between the whole and the elements of the I spill. This way the study of these aspects is important for the discussion on the architecture.