MARÍA ROLDÁN meroldancastro@gmail.com 787-487-8699 www.meroldan.com
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HIDDEN COLLECTION
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SITTING TABLE
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MEMORY MATRIX
ARTECH
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UX HOUSE
KEEP SAFE MANUAL
CAMBRIDGE BIKE SAFETY
ICONOGRAPHY AND POLITICS
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HIDDEN COLLECTION Class: 4.024 - Architecture Design Studio II Department: Architecture Professor: William O’Brien Year: Spring 2016
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Hidden Collection is the architectural embodiment of an ever-expansive system based on Josef Albers’ depth studies during the early 1940’s. The structure is meant to sit in an open space, whether it be a park or a plane hangar, and its program houses a museum’s hidden collection. Through a more open yet intimate curatorial approach, objects that are typically archived become the center of attention, and users can interact with them more closely, from a variety of heights and viewpoints. The circulation crafts the experience, by allowing a theme, for example, vases or armors, to occupy one band. Other exhibitions could be organized by country or era.
Graphic Tectonic, Josef Albers, 1941
To Monte Alban, Josef Albers, 1942
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Study for Sanctuary, Josef Albers, circa 1942
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The Sitting Table explores how design concept, materiality, and process, come together to produce a variety of ergonomic outputs. The width, height, aesthetic and structure of this piece of furniture attracts both a coffee cup, or a human, to sit in it. The need for ergonomic versatility was challenged by the material. The main structure is made of eight bent birch wood rings that come together by an octagonal weight. Each ring is the result of a repetitive process of slicing wood into thin laminations, steaming them, bending them, and gluing them in place for many hours. The piece also shows the value of iteration in design, as the rings demonstrate the level of craftsmanship acquired after each bend.
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MEMORY MATRIX
Team members: Prof. Azra Aksamija Lillian P.H. Kology, James Robert Addison, Seth Cimarron Avecilla, Kristina Eva Eldrenkamp, Dina El-Zanfaly, Maria Roldan, Dietmar Offenhuber, Allison James
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The Memory Matrix is a living monument that explores the possibilities for future heritage creation, employing new fabrication techniques and transcultural collaborative workshops. Created for the MIT Centennial Celebration, The Matrix takes form as a giant screen made of metal fences carrying over 20,000 small fluorescent Plexiglas pixels. Each of these is laser cut in the middle with holes in the shape of vanished heritage from Syria, Egypt, Iraq, or Yemen. Arranged into a larger matrix, the pixels collectively reveal the geometry of Palmyra’s Arch of Triumph, which was destroyed by ISIS. The collaborative making process is the seed for the long-term mission of the project—to bring education to Syrian Refugee Camps, and keep destroyed monuments alive. The project explores how communities threatened by war can document their material and immaterial heritage as indestructible evidence. Variations of the installation have been exhibited at the MIT Media Lab, Qalandiya International Biennale, London Biennale-Manila Pollination and Amman Design Week.
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Drawing featured in Arch Daily’s Article MIT Celebrates Centennial of Cambridge Campus with Two Architecture Installations, 2016.
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The image of the Arch of Palmyra was divided in 12 chain-link fence panels that stacked, allowing people to walk through the installation. To create the piece, I wrote a script that based on the different views we wanted to achieve, pixelated the image and allowed for different densities and geometries to be tested in each fence. This exercise informed the final pixel layout. This process was also crucial for construction—to hang the pixels in an efficient and correct manner, and to calculate how much material was needed. I later used the same script to create the logo, which stood in the entrance to the installation and on the website.
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h link c r a ine d d a ag az m
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ARTECH
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The site for this building is located in the Innovation District in South Boston. Surrounded by small art galleries, and an increasing number of tech companies, the building’s program allows for a cohesive interaction between the design and technology industry. The parametric facade opens up in the exchange zone, and becomes more opaque as the spaces become more private. The interior of the building has double height spaces that connect within them, allowing for an internal and more intimate circulation. The cores of the building are on the opposite ends of the atrium. The building connects with the site through a landscape that allows people to enjoy both the building and the waterfront.
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SEAPORT NEIGHBORHOOD BOSTON, MA
Site Art galleries Tech Companies
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GALLERIES
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ART+TECH SPACES
THEATERS
CONFERENCE ROOMS
SMALL/LARGE FIRM SPACE
FABRICATION LAB
EXCHANGE ZONE
PARKING ZONE
CIRCULATION
EVENT SPACES
GREEN SPACE
LOUNGES
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UX HOUSE
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UX house maximizes experiences by allowing users to operate and customize the space. The experiential outputs were crafted by a rapid prototyping process, in which different mechanical systems for windows or structure were tested. The windows of the house open and close like an accordion, and depending on the position they are in, create a different pattern. The house itself sits on a base that allows it to open and close, allowing the user to determine how private or exposed it will be. When it is closed, it becomes an open floor plan. When it is open, it creates a main corridor and exposes the house to two different views.
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KEEP SAFE MANUAL - PUERTO RICO
Team Members: Enterprise Community Partners, University of Puerto Rico School of Architecture, MIT Urban Risk Lab, AD+V Architects, MBARQ Architects, Perkins+Will, Thornton Tomasetti, Habitat for Humanity, Heart 911, Tiguere Corp
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The worst part of Hurricane Maria was not the storm itself, but rather the aftermath. The vast majority of houses in Puerto Rico are not properly constructed or situated. Many people lack titles to their property, and do not have the knowledge or money to rebuild or relocate. Keep Safe Manual is a construction guide for homeowners in Puerto Rico. It presents sustainable and resilient ways of building. The manual consists of 25 chapters that explain anything from using gray water, to planting a garden, to fixing a roof. Its audience are people that lack a construction background but nonetheless will rebuild their home. Through Perkins+Will, I am both the Technical Consultant and the Design Editor.
VEGETATION
WINDOWS
ORIENTATION
REDUCE THERMAL HEAT GAIN
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In the morning, the East facade receives direct sunlight.
Throughout the day, the South facade receives direct sunlight.
In the afternoon, the West facade Throughout the day, the North receives direct sunlight. facade receives indirect sunlight.
Use Vertical and Horizontal Shading in the East facade.
Use Horizontal Shading in the South Facade.
Use Vertical Shading in the West Facade.
Use Interior shade for glare control if necessary.
Plant tall trees on the West side to reduce afternoon heat.
Plant light greenery on the North side for glare control.
Plant tall trees on the East side to reduce morning heat.
Plant tall bushes on the South side to reduce day-long radiation.
CHAPTER 2 REDUCE THERMAL HEAT GAIN This chapter focuses on strategies—for a new home, or a renovation—to reduce heat gain. It explains how the orientation of the building, the vegetation around it, the materials and the windows have an effect on the interior temperature of a home. The goal is for people to use passive methods, rather than relying on an AC or fan, to rebuild more sustainably. For this chapter, I developed all the drawings and structure. As Design Editor, I translated all the content from words to drawings, and made sure that the content presented was both curated for Puerto Rico’s tropical environment, and for readers that do not have a construction background.
CHOOSE YOUR MATERIALS WOOD
CONCRETE
Use two layers and leave a gap between them, so hot air is trapped there.
The wider the concrete, the coolor the space inside will be.
GLASS
CONCRETE BLOCKS
Cover glass windows with a tinted film to keep visibility but reduce heat. ZINC
Paint with a reflective primer or install radiance barriers to reduce heat.
The hollow spaces in the blocks trap the heat. ROOF COLOR
Paint your roof in a light color so it reflects light and thus reduces heat.
PROTECT YOUR WINDOWS CONCRETE FRAME
JALOUSIE WINDOWS
Must be well casted to Allow light and breeze avoid cracks. Do not attach while protecting during a to the roof to avoid leaks. hurricane. CONCRETE FRAME
BRISE-SOLEILS
Must be well casted to Filters heat and lets avoid cracks. Do not attach daylight through. Anchor to the roof to avoid leaks. well to avoid damage. CONCRETE OVERHANG
CURTAINS
Does not block heat but can provide shade. AWNINGS
Install operable awnings that allow you to deploy as necessary.
INTERIOR SHUTTERS
RETRACTABLE SHUTTERS
Must be well casted to Adjust during the avoid cracks. Do not attach day without having to go to the roof to avoid leaks. outside.
Protect windows during a hurricane. Does not let air or light in.
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WHAT IS A ROOF MADE OUT OF?
Zinc
Waterproof Membrane Plywood 4’ x 8’
WHAT IS A WALL MADE OUT OF?
Gypsum Board Wall Frame Sheathing Finish
WHAT IS A FLOOR MADE OUT OF? Roof Frame Finish Floor
Purlins
Plywood 4’ x 8’
Floor Frame Wall Frame
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Foundation (elevated 18”)
CHAPTER 12 WOOD HOUSE CONSTRUCTION This chapter focuses on showing how to build or fix a wood house. It explains the basic components of a house—roof, wall, floor—and shows how these structurally come together. Throughout the chapter, we highlight the importance of consulting a structural engineer and referencing the latest code. For this chapter, I developed all the drawings and structure. As Technical Consultant, I made sure that the information was accurate and digestible. For instance, a very controversial decision I took was to show all details in 3D, rather than how architects typically draw them for a contractor, so people that to do not have a design background can easily navigate through them.
HOW DO YOU BUILD A WOOD HOUSE?
FOUNDATION FRAME
FOUNDATION TIE
FOUNDATION STRAP
ROOF STRAP
GUTTER
ROOF
WALL LAYERS
FOUNDATION TO WALL
OPENING STRUCTURE
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CAMBRIDGE BIKE SAFETY
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This project analyzes bike accidents in the City of Cambridge by utilizing systems theory and processes typically used to analyze rocket and plane crashes, with the intent of improving bike safety and reducing accidents. The report focuses specifically on the City Smart Program, an initiative that connects the community with information and resources, such as maps, guides, or tips to help people commute/travel without the use of cars.
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Applying plane accident analysis to bike accidents STEP 1: STAKEHOLDERS AND RELEVANT HAZARDS STAKEHOLDERS
CAMBRIDGE GOVERNMENT
ORGANIZATIONS
HAZARDS
Damage to roads, civilian injuries and loss of life (liabilities)
Redundancy, miscommunications, fragmented impact
BICYCLISTS
CAR AND BIKE COMPANIES
CAR DRIVERS
Collisions with cars Collisions with bikes (injury, property when driving or damage), Collisions parking (turns, narrow from road conditions lanes, roads without (potholes, ice) lane markings)
Lack of safety features, loss of publicity/sales after incidents
STEP 2: SAFETY CONTROL STRUCTURE CAMBRIDGE GOVERNMENT Citizen feedback on community development
Organization Funding
Cambridge Transportation
Contact with citizens
DEPARTMENT OF TRAFFIC, PARKING AND TRANSPORTATION
CAMBRIDGE CDD Transportation system design
Citizen feedback, Transportation safety program
Transportation maintenance
Support, Connections with other programs
Bike lane maintenance
Accident Reports
CITY SMART PROGRAM
Outreach Resources
Feedback Support/Advice/ Resources/Equipment
CDD BICYCLE COMMUNITY
Traffic control
STREET MANAGEMENT DIVISION Feedback on bike lane usage
Citizen input /Feedback
Law
Feedback on car
Car lane
POLICE Commuter information/ Resources
Follow laws
Follow laws
Enforce laws
Enforce laws
Signals
DRIVERS
BICYLISTS New membership
Organization funding, Traffic laws
Products
Feedback, Money
Signals
Products
BIKE DESIGNERS
Feedback, Money
CAR DESIGNERS
* Cambridge Community Development Department (or CDD) is the division of the Cambridge Government that is responsible for planning transportation infrastructure that enhances safety and encourages walking, cycling and public transportation.
* Department of Traffic, Parking, and Transportationis the division of the Cambridge Government that controls traffic (vehicles, bicycles, pedestrians and transit) through signals, signs, and pavement markings. It also encourages and supports non-auto modes of transportation and maintains the traffic/safety infrastructure designed by the CDD. * Street Management Division maintains roads (including lane markings/bike lanes) and collects data (traffic study reviews of drivers and cyclists).
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STEP 3: SYSTEMS ANALYSIS STPA analysis is a systems and control theory developed by Prof. Leveson. STPA consists of two steps:
Step A - STAMP (Systems-Theoretic Accident Model and Processes) - Used to outline hypothetical situations, identify the scenarios in which these would occur, and make appropriate recommendations that can inform the safety guidelines.
UNSAFE CONTROL ACTION
CAUSAL FACTS & SCENARIOS
RECOMMENDATIONS
Not providing the same commuter information to drivers and cyclists.
Belief that the customized information should not allow for accidents.
Make the same information available to everyone, in order to prevent miscommunications.
Providing erroneous commuter information to drivers and cyclists.
An error in the database.
Verify the accuracy and legitimacy of the information.
Relying on incorrectly timed commuter information.
System is not keeping up to the pace of the information influx.
Create checkpoints or tests that prove that the timing of the information received is accurate.
Utilizing the same commuter information for too long.
System is not aware of anomalies. For example, temporary closed lanes for construction.
Update information on a frequent basis, and account for temporary changes.
Step B - STPA (STAMP-Based Process Analysis) - Connects STAMP with the control structure, by outlining what the relationship between the stakeholders means in terms of hazards. It also analyzes excess events that can lead to failures.
COMMUTER INFORMATION
RESOURCES
OUTREACH RESOURCES
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NOT PROVIDING “X” CAUSES A HAZARD
PROVIDING “X” CAUSES A HAZARD
INCORRECT TIMING/ORDER IN “X”
STOPPED TOO SOON/ APPLIED TOO LONG
The same commuter information to drivers and cyclists.
Erroneous commuter information to drivers and cyclists.
Incorrectly timed commuter information.
Relies on the same commuter information for too long.
Updated and helpful resources to drivers and cyclists.
Outdated resources to drivers and cyclists.
Resources that are not relevant to a certain point in time.
Utilizes the same resources for too long.
Reliable outreach resources to the CDD Bicycle Community.
Irrelevant outreach resources to the CDD Bicycle Community.
Outdated outreach resources to the CDD Bicycle Community.
Sends outreach resources too soon to the CDD Bicycle Community, without thorough research.
STEP 4: RECOMMENDATIONS
WHAT TO DO
HOW TO DO IT
POSSIBLE SCENARIO
Upgrade software so it can input data from Cambridge and react to real-time situations.
The software could allow snow-towing companies to report their cleaning, and it could share and update winter-friendly routes for bikers and cars.
Meetings, Online Platforms, Workers that regularly test strategies for improvement.
Cyclists and drivers can document their “near-collision” experiences and create a database of most common accidents, so a group of planners can make recommendations or create laws that reduce these situations.
Increase web and social media impact. Currently, the page for the City Smart Program is nested 3-4 levels of webpages in the City of Cambridge homepage.
Young students that are just moving to Cambridge and purchasing a bike can download an app or follow a page.
Integrate software and human interaction cohesively.
Increase the amount of data and feedback collected.
Improve ways of communicating with the community.
References: Aircraft Accident Report Pan American World Airways Inc. Clipper 759. Rep. Washington, D.C.: National Transportation Safety Board, 1982. Crimaldi, Laura. “Cyclist Fatally Struck Identified as Cambridge Woman - The Boston Globe.” BostonGlobe.com. The Boston Globe, 8 Aug. 2015. Web. 13 Mar. 2016. Cromwell, Darin. CPD-Kyaw-Report1. Rep. Cambridge, MA: Cambridge Police, 2012. Print. Hawkinson, John. “Kyaw Report Closed - The Tech.” Kyaw Report Closed. The Tech, 15 May 2012. Web. 13 Mar. 2016. Irons, Meghan. “Mass Ave./Vassar St. Intersection a Deadly Hazard.” Mass Ave./Vassar St. Intersection a Deadly Hazard - The Tech. The Tech, 11 Jan. 2012. Web. 13 Mar. 2016. Terreri, Jill. “Improvements Coming to Mass. Ave. Intersection Where Cyclist Was Killed - The Boston Globe.” BostonGlobe.com. The Boston Globe, 31 Aug. 2015. Web. 13 Mar. 2016.
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ICONOGRAPHY & POLITICS
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“Brasilia is a miracle,” said Lucio Costa, the chief architect of Brasilia. Conceived in 1957 and built under the
presidency of Juscelino Kubitscheck, the city is often regarded as a utopian paradigm; thus it’s nickname, the Capital of Hope. The simplicity and boldness of Brasilia’s design filtered through different artistic mediums and eventually became both a national and international icon. At the same time, it was a reflection of Brazil’s social and political atmosphere in the 1960’s. The relationship between Brasilia’s architectural motif, and its resultant iconography, combined with the seemingly stable government at the time resulted in a new national and international pride.
Towards the end of Gertulio Vargas’ political career and life, the government started showing some instability. After
his death by suicide in 1954, Brazil went through three non-elected Presidents in a period of less than a year and a half. In 1956, Juscelino Kubitscheck was elected president and successfully served his term. Kubitshceck was succeeded by Janiao Quadros in 1961, who lasted less than a year in office, and set the grounds for the turmoil that eventually led to the military coup in 1964 and the dictatorship that followed for the next two decades. In a span of 10 years, Brazil had seven presidents. In the midst of this chaos, the fact that Kubitscheck was elected by the people, served until the end of his term and managed to bring a certain degree of economic, political and social stability, made his presidency seemingly steady, especially when compared to its predecessors, and thus culminated in the creation of a new capital.
Brasilia was the hope for stability in an unstable country. Its utopic design represented the desire of the
people and the government to achieve a nationwide unity to project internationally. In his book The Modernist City: An anthropological critique of Brasilia, John Holston analyses the construction of Brasilia. He states that if the city “could serve as an example of progress for the rest of the nation, it would be possible not only to generalize its innovations, but also to propel the country as a whole into the planned future it embodies.” Fernando Luiz Lara discusses the same topic in his essay Brazilianization or Brasilianization? and states “In that sense, Brazilianization would be the nation influencing the city while Brasilianization refers to the city influencing the rest of the country.” The unstable political situation in Brazil created the fertile grounds, and the desire for a new, utopic, and hopeful future to look forward to.
In 1957, the government held a competition for the design of a new capital, and Lucio Costa won it with his
masterplan called Plano Piloto (Figure 1). The proposal for Brasilia was fairly simple; it consisted of two axes that intersected perpendicularly (Figure 2). The vertical axis was for public buildings, and the horizontal one was for residences. Two embankments in the vertical axis carried the government buildings. The buildings in this core, designed by Lucio Costa with his colleague and friend Oscar Niemeyer were recognized internationally because of their innovative structures, their monumentality, and their harmonious relation to the broader master plan. Holston says Brasilia’s monumental architecture showed the world Brazil’s “strength and power”, allowing the city to become an icon of the nation.
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FIGURE 1 Lucio Costa’s Plano Piloto
FIGURE 2 Lucio Costa’s Plano Piloto Sketches
One particular building in the second embankment, Palacio da Alvorada, (Figure 3) the official residence of the
President of Brazil, fully absorbed the essence of the plan and incorporated it into its structure. The column that holds the president’s household developed from the sketch of the plan (Figure 4) and is now known as the Niemeyer Column. Its geometry became an icon, and was used in various artistic and political forms to show the power of the ‘National Capital.’ In the second embankment, known as the Plaza of the Three Powers the idea of a horizontal and vertical axis intersecting at a low point is seen in the heights and arrangements of the buildings. (Figure 5).
FIGURE 3 Palacio da Alvorada
FIGURE 4 Niemeyer Column Sketch
FIGURE 5 Plaza of the Three Powers
The Brasilia masterplan ‘cross’ penetrated different areas in the political and artistic realms. For example, its geometry became the coat of arms of the city (Figure 6). It was also seen in the murals of the restaurant in the Brasilia Palace Hotel (Figure 7), and in the Igreja Nossa Senhora de Fatima (Figure 8), both important buildings of the city. The decision of Oscar Niemeyer to use the Plano Piloto as the design parameter to follow for the buildings throughout the city gave Brasilia the necessary tools to represent the power of the government nationally, and to represent Brazil internationally. Luiz Lara asserts that “it is impossible to imagine the country without the powerful symbolism of its modern lines. The city Brasilianized the nation as much as the nation Brazilianized the city.”
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FIGURE 6 Seal of Brasilia
FIGURE 7 Mural on Brasilia Palace Hotel
FIGURE 8 Mural on Igreja Nossa Senhora de Fatima
At an artistic and international level, the fascination with Brasilia became evident in the creation of Broyhill
Premier’s Brasilia Furniture Collection. Broyhill Premier was a furniture design company in North Carolina that was fascinated by the iconography of Brasilia, and decided to implement it in a furniture collection. It used the Niemeyer column geometry as table stands, armrests, seat backs and drawers. Its furniture, just like the city, was the “dynamic embodiment of the new way of life” (Broyhill). Furthermore, the company believed that their collection was “a new look in furniture” (Broyhill). In a way, just like the collection, this is what Brasilia was, a “new look” for Brazil.
FIGURE 9 Brasilia Furniture Collection by Broyhill Premier
FIGURE 10 Broyhill Brasilia at 62’ World Fair
While the city received architectural and international recognition, it was not as impeccable as its reputation. The
site for the construction of Brasilia was the geographic center of the country. Kubitscheck wanted to relocate the capital to create a national identity, rather than focus on the major Brazilian cities: Rio de Janeiro and São Paulo. However, precisely because of how far it was from these cities, it was difficult to access. Holston discusses how its location was a “separation from the country it represents.”
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This “separation” was not only geographic, but also economic. Brasilia’s utopic intent aimed to create a “perfect
social coexistence” (Hoslton). This would be achieved by creating a metropolis in which housing conditions were equal for everybody. This mission is embodied in the ‘supersquadra’, a housing typology that was conceived for this city. The supersquadra apartment blocks are all equal: same façade, same height, same facilities, all constructed on pillars, all provided with garages and constructed of the same material to “prevent hateful differentiation of social classes” (Holston).
The intent of Brasilia to be a paradise became even more problematic when it was actually built. The similarity of
the buildings in the supersquadras was incredibly disorienting, and still causes people to easily get lost and confused. The lack of corners also contributed to its odd nature. The proportions of the width of a street to the height of the buildings was off. Lastly, the city was so big, it was impossible to move around it without a car. As Fernando Luiz Lara says, “the city has been praised as the embodiment of hope and criticized as the materialization of despair.”
The fast construction of the city led many to believe that there was corruption in the government, and this
eventually led people to elect the candidate of the President’s opposing party by a landslide in 1961, just a year after the city had been inaugurated. If Brasilia was a success or not is a matter of discussion. For just after four years of the creation of the capital, the country would fall under a military dictatorship that would rule for almost two decades.
Whether Brasilia was built as a sign of prosperity or as a last attempt by the government to seem powerful, it
certainly achieved the goal of generating a national unity, a national hope, and a national project. Its iconography has lasted decades, and still represents Brazil’s strength, power, and unity to the outside world.
References: - Colquhoun, A. (2002). Modern Architecture. Oxford: Oxford University Press - Holston, J. (1989). The modernist city: An anthropological critique of Brasilia. Chicago: University of Chicago Press - Lara, Fernando Luiz. “Brazilizanization or Brasilianization? The First Fifty Years of Brasilia.” PORTAL 5 (2009-2010) - Kuilman, Marten. (2011) Quadralectic Architecture: A panoramic Review. Falcon Press - Schemo D. (June 16, 1988) Lucio Costa Is Dead at 96; Planned Futuristic Brasilia. The New York Times. Retrieved from http://www.nytimes.com -
Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure
1: Costa, L. (1957) Plano Piloto Sketches 2: Costa, L. (1957) Plano Piloto 3: Niemeyer, O. (1960) Column Sketch for Palacio da Alvorada 4: Costa, L. and Niemeyer, O. (1960) Plaza of the Three Powers [Building] Image by Marcelo Jorge Vieira 5: Niemeyer, O. (1960), Palacio da Alvorada [Building] Image by Leonel Ponce 6: Coat of arms of the Federal District, Brazil. Public image, published and commissioned by the Brazilian Government. 7: Bulcao, A. (1960) Mural on Igreja Nossa Senhora de Fatima [Mural] Image by Francisco Aragao 8: Bulcao, A. (1960) Mural on Brasilia Palace Hotel Restaurant [Mural] Image by Fernando Stankuns 9: Brasilia by Broyhill Furniture Factories Inc., Lenoir, North Carolina 10: Brasilia at 62’ World Fair
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MARÍA ROLDÁN meroldancastro@gmail.com 787-487-8699 www.meroldan.com
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