Vilanova Artigas: the translated poetics
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Antíteses |
Texto Completo: | https://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/37291 |
Resumo: | We hereby broach the architectural oeuvre by influential and controversial architect Vilanova Artigas, active in São Paulo between the 1940s and the 70s. We take the stand of treating this modern architectural work as an autonomous artwork that puts up a figuration out of reinforced concrete beam and lintel structures, which worked out a fusion between linear members and volumetric configuration in the same material, reinforced concrete. His designs exhibit on the one hand a serial disposition of both volumes and structure alongside an axis, and on another they alternate alongside the viewer’s path between mass and space, between intense lights and deep shadows, between weight and resistance, contrasts which tradition assigns to the sublime, to the tragic view of human toil that raises structures far beyond the measure of sound utility. This excess sets his work at odds with his own Marxist creed about the exploitation of work but it is grounded on the project of modern architecture as style of modern times which would nonetheless be in stark opposition, according to Reyner Banham (1970, p. 327), to the uninterrupted development of technology through which it aimed at legitimizing itself. |
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Vilanova Artigas: the translated poeticsVilanova Artigas: a poética traduzidaVilanova ArtigasArchitectural theoryArchitectural aestheticsArchitectural criticismArt criticismHistóriaarquiteturaVilanova ArtigasTeoria da arquiteturaEstética arquitetônicaCrítica de arquiteturaCrítica de arte.HistóriaarquiteturaWe hereby broach the architectural oeuvre by influential and controversial architect Vilanova Artigas, active in São Paulo between the 1940s and the 70s. We take the stand of treating this modern architectural work as an autonomous artwork that puts up a figuration out of reinforced concrete beam and lintel structures, which worked out a fusion between linear members and volumetric configuration in the same material, reinforced concrete. His designs exhibit on the one hand a serial disposition of both volumes and structure alongside an axis, and on another they alternate alongside the viewer’s path between mass and space, between intense lights and deep shadows, between weight and resistance, contrasts which tradition assigns to the sublime, to the tragic view of human toil that raises structures far beyond the measure of sound utility. This excess sets his work at odds with his own Marxist creed about the exploitation of work but it is grounded on the project of modern architecture as style of modern times which would nonetheless be in stark opposition, according to Reyner Banham (1970, p. 327), to the uninterrupted development of technology through which it aimed at legitimizing itself.Abordamos aqui a obra do influente e controvertido arquiteto Vilanova Artigas, ativo em São Paulo entre as décadas de 1940 e 1970, como obra de arte autônoma, pois esta mostra um uso figurativo de estruturas trilíticas de concreto armado, o qual operava uma fusão da linearidade dos membros com a criação volumétrica no mesmo material. Seus projetos mostravam, por um lado, uma disposição volumétrica e estrutural serial ao longo de um eixo e, por outro, a alternância no percurso do observador entre massa cerrada e espaço, entre luzes intensas e sombras profundas, entre peso e resistência, contrastes estes que a tradição atribui ao sublime arquitetônico, à visão do drama humano do trabalho que, afinal, ergue as estruturas além da medida razoável da utilidade. Exceder esta medida põe a obra em conflito com o marxismo do militante Artigas, mas também a põe no terreno da arquitetura moderna enquanto “estilo da modernidade”, em conflito, segundo Reyner Banham (1970, p.327), com o desenvolvimento ininterrupto da técnica com a qual pretendia legitimar-se.Universidade Estadual de Londrina2020-08-21info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/3729110.5433/1984-3356.2020v13n25p447Antíteses; Vol. 13 No. 25 (2020): v13-n25; 447-481Antíteses; v. 13 n. 25 (2020): v13-n25; 447-4811984-3356reponame:Antítesesinstname:Universidade Estadual de Londrina (UEL)instacron:UELporhttps://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/37291/27891Copyright (c) 2020 Antíteseshttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessGabriel, Marcos Faccioli2022-10-27T19:53:27Zoai:ojs.pkp.sfu.ca:article/37291Revistahttps://www.uel.br/revistas/uel/index.php/antitesesPUBhttps://www.uel.br/revistas/uel/index.php/antiteses/oaiantiteses@uel.br||1984-33561984-3356opendoar:2022-10-27T19:53:27Antíteses - Universidade Estadual de Londrina (UEL)false |
dc.title.none.fl_str_mv |
Vilanova Artigas: the translated poetics Vilanova Artigas: a poética traduzida |
title |
Vilanova Artigas: the translated poetics |
spellingShingle |
Vilanova Artigas: the translated poetics Gabriel, Marcos Faccioli Vilanova Artigas Architectural theory Architectural aesthetics Architectural criticism Art criticism História arquitetura Vilanova Artigas Teoria da arquitetura Estética arquitetônica Crítica de arquitetura Crítica de arte. História arquitetura |
title_short |
Vilanova Artigas: the translated poetics |
title_full |
Vilanova Artigas: the translated poetics |
title_fullStr |
Vilanova Artigas: the translated poetics |
title_full_unstemmed |
Vilanova Artigas: the translated poetics |
title_sort |
Vilanova Artigas: the translated poetics |
author |
Gabriel, Marcos Faccioli |
author_facet |
Gabriel, Marcos Faccioli |
author_role |
author |
dc.contributor.author.fl_str_mv |
Gabriel, Marcos Faccioli |
dc.subject.por.fl_str_mv |
Vilanova Artigas Architectural theory Architectural aesthetics Architectural criticism Art criticism História arquitetura Vilanova Artigas Teoria da arquitetura Estética arquitetônica Crítica de arquitetura Crítica de arte. História arquitetura |
topic |
Vilanova Artigas Architectural theory Architectural aesthetics Architectural criticism Art criticism História arquitetura Vilanova Artigas Teoria da arquitetura Estética arquitetônica Crítica de arquitetura Crítica de arte. História arquitetura |
description |
We hereby broach the architectural oeuvre by influential and controversial architect Vilanova Artigas, active in São Paulo between the 1940s and the 70s. We take the stand of treating this modern architectural work as an autonomous artwork that puts up a figuration out of reinforced concrete beam and lintel structures, which worked out a fusion between linear members and volumetric configuration in the same material, reinforced concrete. His designs exhibit on the one hand a serial disposition of both volumes and structure alongside an axis, and on another they alternate alongside the viewer’s path between mass and space, between intense lights and deep shadows, between weight and resistance, contrasts which tradition assigns to the sublime, to the tragic view of human toil that raises structures far beyond the measure of sound utility. This excess sets his work at odds with his own Marxist creed about the exploitation of work but it is grounded on the project of modern architecture as style of modern times which would nonetheless be in stark opposition, according to Reyner Banham (1970, p. 327), to the uninterrupted development of technology through which it aimed at legitimizing itself. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-08-21 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/37291 10.5433/1984-3356.2020v13n25p447 |
url |
https://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/37291 |
identifier_str_mv |
10.5433/1984-3356.2020v13n25p447 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/37291/27891 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2020 Antíteses http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2020 Antíteses http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Estadual de Londrina |
publisher.none.fl_str_mv |
Universidade Estadual de Londrina |
dc.source.none.fl_str_mv |
Antíteses; Vol. 13 No. 25 (2020): v13-n25; 447-481 Antíteses; v. 13 n. 25 (2020): v13-n25; 447-481 1984-3356 reponame:Antíteses instname:Universidade Estadual de Londrina (UEL) instacron:UEL |
instname_str |
Universidade Estadual de Londrina (UEL) |
instacron_str |
UEL |
institution |
UEL |
reponame_str |
Antíteses |
collection |
Antíteses |
repository.name.fl_str_mv |
Antíteses - Universidade Estadual de Londrina (UEL) |
repository.mail.fl_str_mv |
antiteses@uel.br|| |
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1797069048484200448 |