anais

Banking architecture, late modernism and exposed concrete in Porto Alegre — Brazil

Capa dos anais

5º Seminário Docomomo Sul, Porto Alegre, 2016

Baixar PDF DOI10.5281/zenodo.19291757

Resumo

O presente trabalho busca reconhecer e analisar a arquitetura bancária Porto Alegre, influenciada pela pratica do concreto aparente e uma modernidade de características já bastante diversificadas; uma produção que se concentrou nos anos setenta, mas atingiu parcialmente as décadas adjacentes. Essa é a arquitetura da estrutura monumentalizada, da experimentação formal, do alto teor artesanal presente. Este último merece destaque pela sua existência dentre dois Brasis, o colonial e o industrial – e de forma curiosa ainda foi capaz de gerar riqueza no detalhe arquitetônico, um desdobramento autóctone próprio de uma modernidade de raízes brasileiras, mas que transcende um certo folclore tropical. O fenômeno da “arquitetura bancária” ocorrido em todo País, cujo epicentro foi São Paulo, contextualiza esta experiência gaúcha e periférica. Havia naquele período certa dualidade no processo operativo de projeto. Por um lado, existia a notabilidade artística do autor, a autoria da composição particular, o projeto solucionado de modo “artesanal”; por outro, havia os modelos genéricos, quase institucionalizados, de uso corrente e estandardizados para satisfazer a demanda de projetos modernos em escala global. Dois caminhos antagônicos tendo como fatores fundamentais a cultura local de elaboração de projeto e as limitações climáticas, técnicas e econômicas próprias do estado gaúcho. Era o momento, segundo Luis H. H. Luccas, quando se tornava assimétrica a comparação entre arquitetura como concepção individual artesanal ou como projeto coletivo. E a vertente do concreto aparente, dita “brutalista”, em ascensão resgatava a manufatura artesanal dos componentes, seus aspectos primitivos e suas imprecisões, como sinônimo de excepcionalidade, audácia, expressão e novidade. Entretanto, a concepção do concreto enquanto pedra falsa, ou ao menos como um material de envelhecimento rápido e patológico sob condições subtropicais, fatalmente não sobreviveu a intervenções que mascarassem seu sentido. Enfim, este trabalho busca demonstrar que a Escola Paulista não era a única nem a principal influência dos arquitetos locais. Fica evidente, no entanto, a influência direta de mestres europeus exercida sobre os profissionais locais, destacadamente para a presença subjacente de matrizes miesianas e para a tactilidade madura corbusiana. Embora os arquitetos trabalhassem em torno de utopias artísticas, os exemplares mais bem-sucedidos na criação da forma foram justamente os exemplares de composição elementar. Isso contribui em alguma medida com a revisão, o sentido e o prosseguimento da genealogia da arquitetura moderna como um fenômeno ainda a traduzir para os dias de hoje.

Palavras-chave

Abstract

This study aims to recognize and analyze the banking architecture Porto Alegre, a production concentrated in the Seventies which used exposed rough concrete as the main characteristic and late modern features. Brutalist features appeared through monumentalized structures, formal experimentations, and high level of artisanal content applied. This last one deserves special attention due to its existence inside two antagonist Brazils: the colonial and the industrial. Curiously, this apparent contradiction (or duality) was still able to generate high architectural standards, reveling itself as an autochthonous development from Brazilian Modern Architecture, which transcended the general image of a tropical folklore. There was at that time a certain duality in the operating process of design. On the one hand, the architect searched for and artistic notability through particular compositions, so-called "artisanal" mode. On the other, there were the generic architectural models almost institutionalized, usual and standardized to meet the modern designs demand on a global scale. Two opposing methods dealing with fundamental local factors as the designing culture, and the climate technical and economic limitations typical in South Brazil. According to Luis H. H. Luccas the postwar period marks the asymmetric comparison between architecture as an individual design development or as a collective project. In addition, the rising exposed concrete movement so-called "brutalist" rescued that artisanal manufacture included in the components, with its primitive aspects and its inaccuracies, as a synonym of uniqueness, boldness, expression and novelty. This is a "romantic" aesthetic that countered the synthetic, homogeneous and systematic architectural language developed earlier through international standards. The design of concrete as faux stone, or at least as fast and pathological aging of material under subtropical conditions, fatally did not survive to constructive interventions, which would mask its meaning. Finally, this paper seeks to show that the so-called “Paulista School” was not the only or the main influence for local architects. Miesian matrices and Corbusien tactilities are more feasible. Although the local architects worked around some artistic utopias, the most successful forms used actually elementary compositions. This contributes to the review, the meaning and the continuation of the Brazilian modern architecture as a phenomenon to translate to nowadays.

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Como citar

PETROLI, Marcos Amado. Banking architecture, late modernism and exposed concrete in Porto Alegre — Brazil. In: SEMINÁRIO DOCOMOMO SUL, 5., 2016, Porto Alegre. Anais [...]. Porto Alegre: Núcleo Docomomo RS / PROPAR-UFRGS, 2016. ISBN 978-85-61965-40-2. DOI: 10.5281/zenodo.19291757.

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Referências

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Ficha catalográfica

5º Seminário Docomomo Sul: anais: o moderno no contemporâneo: herança e prática [recurso eletrônico] / organização: Ana Carolina Pellegrini, Carlos Eduardo Comas. Porto Alegre: Marcavisual, 2016. Disponível em: www.ufrgs.br/propar/anais-do-5o-seminario-docomomo-sul/. ISBN 978-85-61965-40-2