Construção. Última fronteira da arquitetura carioca

• Autor(a) principal: Pedro Henrique Alonso de Camargo Penalva Rodrigues
• Data de Publicação: 2020
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/133150
• topic: Artes; Arts

After the end of the civilian-military dictatorship (1964-1985) in Brazil, some political programs were created to address social liabilities that have worsened in previous decades. For education, health and safety policies, standardized architectural projects were created and replicated by the hundreds. This work intends to discuss such public facilities in the State of Rio de Janeiro in the last decades. The projects symbolize the last frontier of a process of decline in the Escola Carioca and of contempt for the res publica . Based on the study of these architectures, we seek to understand the causes and effects of this extreme situation to subsequently substantiate a project that values the democratization of good architecture. The design of a public building must thus guarantee both the perennial character in subversion to oppression, the genealogical and formal cohesion beyond its time, as well as being a structuring condenser of the city and urban dynamics. The territorial dynamics in Rio de Janeiro are historically reflections of the deep social inequality where a small portion of privileged people has the knowledge, the techniques and the forces in front of the oppressed majority. This amalgamation of tensions and conflicts, with the profusion of self-constructions and parallel cities, generates the extensive urban spot that makes up the entropic system of Brazilian conurbations. After redemocratization, the state government of Rio implemented, through public policies, a range of institutional buildings, aiming to meet such accentuated social liabilities over the years. Among police stations, health posts and educational centers, there were hundreds of works that had in common their mass dissemination in discontinuous measure with the city. Today, sometimes, this equipment is the only representation of the State in the midst of urban contexts of profound social dichotomy. In other cases, they represent an underutilized potential for urban insertion as architectural devices in addition to their restrictive programmatic features. The state investment in the qualification of public spaces in all their forms, functions and relations, came to represent an unnecessary expenditure according to the perspective of neoliberalism. In the contemporary Brazilian city, access to architecture has become a privilege and a luxury item, therefore, often considered superfluous. Consequently, the right to architectural design as an artistic expression became increasingly restricted to a small portion of the population. The wiping out of the state sphere resulted in architectures synonymous with flaccid firmitas , devoid of venustas and should meet the minimum possible reducer of utilita s. From the apotheosis of the works published in Brazil Builds to the present day, the architecture of Rio gradually faded to this last frontier. Dozens of opportunities were missed to take advantage of the insertion of equipment to renovate urbanities, make cities and articulate the territory. Thus, the practice of architectural design is understood as one of the means of subverting the distortions in the current relations of a replicable public equipment, with the city. It seeks to cut, through drawing, with the vision of architecture while benefiting a restricted part of the population. In territories separated by privileges and exclusions, the architectural project promoted by the State must be a mechanism of popular emancipation and guarantee of the right to the city. In addition to reaffirming the people's sense of support and security, it must express continuity and permanence to urban, social and cultural facts. The architect, on the other hand, urges the democratization of his role as a social transformer and his reaffirmation before what Fernando Távora describes as "man among men - organizer of space - creator of happiness."