DIAGRAMMING AND MAPPING: The Underlying System of Architecture - Daniela Coppede Pacheco Cioni Copp by UF-CLO

DIAGRAMMING AND MAPPING:

THE UNDERLYING SYSTEM OF ARCHITECTURE.

DANIELA COPPEDE PACHECO CIONI COPPOLA

DIAGRAMMING AND MAPPING:

THE UNDERLYING SYSTEM OF ARCHITECTURE.

By DANIELA COPPEDE PACHECO CIONI COPPOLA

CHAIR: ALBERTUS S. WANG. CO-CHAIR: FRANK M. BOSWORTH

A RESEARCH PROJECT PRESENTED TO THE UNIVERSITY OF FLORIDA GRADUATE SCHOOL OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE

UNIVERSITY OF FLORIDA, CITYLAB-ORLANDO, 2020

“And though I have the gift of prophecy, and understand all mysteries and all knowledge, and though I have all faith, so that I could remove mountains, but have not love, I am nothing.” Corinthians 13:2 NKJV

Table of Contents Acknowledgments 16 Abstract 18

1 2

Introduction 21 Introduction

1.1 Background of the Problem

Theory and Method

Theory 28 2.1 Diagramming and Mapping Origins 2.2 Diagramming Groundings 2.3 Conceptual Diagram

28 30 36

Precedents 43 Precedents 44 3.1 Creative Processes 3.1.1 Carlo Scarpa 3.3 Richard Meier 3.4 Lucio Costa 3.5 Oscar Niemeyer

44 46 50 52 54

Methodology and Poetics

Inspirational Element

4.1 Di Cavalcanti’s Masterpiece 4.1.2 Brazil of Macunaíma 4.1.2 The Three Powers Plaza 4.2 Methodology Application 4.2.2 Overall Mapping - Empathizing 4.2.3 Overall Mapping - Dissecting 4.2.4 First Crop Mapping - Empathizing 4.2.5 First Crop Mapping - Dissecting 4.2.6 Second Crop Mapping - Empathizing 4.2.7 Second Crop Mapping - Dissecting 4.2.8 Diagram - Descriptive Organization

62 64 66 69 69 71 73 75 77 79 81

The Body

The Body as Scale

4.3 David

The Diagram vs. The Body as Scale 4.4 Dialogue and Negotiation 4.5 Cheios e Vazios 4.6 Explosion and Bond

87 87 89 91

The Body as Program - David as Adam

4.7 David as Adam - Humanity - The Confident Position

The Body as Scale and Program 4.7 .1 Chairness and Bodyness

95 95

4.7.2 The Presence and the Absence of the Physical Body

Chairness to be named The Conquest of Brasilia 4.7.3 The Negotiation between the Presence and the Absence of the Physical Body 4.7.4 The Shape that Holds the Body

Chairness to be named The Conquest of Brasilia 4.7.5 The Construction of the Idea and Materiality

The Body as Program - David as Christ and Mary 4.8 David as Christ - Divinity - The Hopeless Position 4.8.1 David as Mary - Humanity and Divinity - The Resigned Structure

The Body as Scale and Program 4.8 .2 Chairness and Bodyness 4.8.3 The Presence and the Absence of the Physical Body

Chairness to be named The Conquest of Brasilia 4.8.4 The Relationship between that which Holds the Body and that which Holds the Chair 4.8.5 The Resigned Structure 4.8.6 The Construction of the Idea and Materiality 4.8.7 The Independence of the Supporting Chair 4.8.8 The Construction of the Idea and Materiality 4.8.9 The Construction of the Idea and Materiality 4.8.10 The Body as Scale and Program - The Faithful Position 4.8.11 The Construction of the Idea and Materiality 4.8.12 The Construction of the Idea and Materiality 4.8.13 The Body as Scale and Program - The Faithful Position 4.8.14 The Construction of the Idea and Materiality

The Body as Program

4.9 David as Venus - Femininity and Masculinity - The Laying Position

The Body as Scale and Program - David as Venus

99 105

4.9.1 David as Venus - Femininity and Masculinity 4.9.2 The Presence and the Absence of the Physical Body

107

The Horizontal Object

107

4.9.3 The Chairness 4.9.4 The Construction of the Idea and Materiality

109 109 111

The Object 4.10 The Enlightenment 4.10.1 The Construction of the Idea and Materiality

113 113 115

117 117 119 121 123 125 127 129 131 133 135 137

The Composition 4.11 The Exploration of the Ideas in Real Environment

139 139

141 141 143

145 145 147

149 149 151

153 153

Conclusion 161 Conclusion 162

Bibliography 166

List of Figures Fig. 1.1 Sketch of Mary’s faithful hand.

Fig. 1.2 Mapping of The Creation of Adam.

Fig. 1.3 Vilanova Artigas. Mulheres 20 Fig. 1.4 Massimiliano Fuksas. Diagram of Congress Center Italy, Rome, 2005.

Fig. 1.5 Massimiliano Fuksas. Model of the Congress Center Italy, Rome, 2005.

Fig. 2.1- Vilanova Artigas. Mão 26 Fig. 2.2 Stonehenge: prehistoric monument. England, 3000 BC to 2000 BC.

Fig. 2.3 Paul Klee. Pedagogical Sketchbook. 1925.

Fig. 2.4 From Albers’ Theory 1+1=3 or more

Fig. 2.5 Josef Albers. Structural Constellation, 1958.

Fig. 2.6 Josef Albers. Homage to the Square: R-NW IV, 1966.

Fig. 2.7 Kandinsky. A Leap of the Dancer Palucca and A Graphic Diagram of the Leap.

Fig. 2.8 M. Richmond, advanced student work. In Maelee T. Foster. A Comprehensive Description of a Diagram Conceptual Diagram.

Fig. 2.9 J.T. Kerr, design one student. In Maelee T. Foster. A Comprehensive Description of a Diagram. The diagrammatic transformation.

Fig. 3.1 Oscar Niemeyer. Sketch.

Fig. 3.2 Joseph Albers. After Nightfall, 1948 - 53.

Fig. 3.3 Carlo Scarpa. “A Fili” vase, blown glass, circa 1942.

Fig. 3.4 Carlo Scarpa. Luo Table Samo, 1970.

Fig. 3.5 Carlo Scarpa.The Brion Cemetery, 1968 - 78.

Fig. 3.6 Carlo Scarpa. Diagram.

Fig. 3.7 Charles-Edouard Jeanneret. Nature Morte Verticale,

Kunstmuseum Basel, Switzerland, 1922.

Fig. 3.8 Le Corbusier. Sketch of Villa La Roche/Jeanneret,

Paris, 1923 - 25.

Fig. 3.9 Le Corbusier. Villa La Roche, 1925.

Fig. 3.10 Richard Meier. Lectern diagram, 1972.

Fig. 3.11 Richard Meier. Meier Collection for Knoll.

Fig. 3.12 Lucio Costa. Parti Diagram for the master plan of Brasilia - Plano Piloto, Brasilia,1956.

Fig. 3.13 Aerial view of Brasilia.

Fig. 3.14 Oscar Niemeyer. Parti Diagram for The Niteroi Museum of Contemporary Art, RJ - Brazil, 1996.

Fig. 3.15 Oscar Niemeyer. The Niteroi Museum of Contemporary Art, Rio de Janeiro - Brazil, 1996.

Fig. 3.16 Oscar Niemeyer and Anna Maria Niemeyer. Oscar Niemeyer’s Sketch for Alta Lounge Chair, 1971.

Fig. 3.17 Oscar Niemeyer and Anna Maria Niemeyer. Alta Lounge Chair, 1971.

Fig. 3.18 Perception of Space

Fig. 4.1 Vilanova Artigas. Bailarina 60 Fig. 4.2 Di Cavalcanti. Unnamed, oil on canvas,Brasilia, 1960.

Fig. 4.3 Tarsila do Amaral. O Batizado de Macunaíma. 1956.

Fig. 4.4 The Three Powers Plaza - Brasilia

Fig. 4.5 Overall Mapping - Empathizing

Fig. 4.6 Ideogram.

Fig. 4.7 Ideogram.

Fig. 4.8 Overall Mapping - Dissecting

Fig. 4.9 Ideogram.

Fig. 4.10 Ideogram.

Fig. 4.11 First Crop Mapping - Empathizing

Fig. 4.12 Ideogram.

Fig. 4.13 Ideogram.

Fig. 4.14 First Crop Mapping - Dissecting

Fig. 4.15 Ideogram.

Fig. 4.16 Ideogram.

Fig. 4.17 Second Crop Mapping - Empathizing

Fig. 4.18 Ideogram.

Fig. 4.19 Ideogram.

Fig. 4.20 Second Crop Mapping - Dissecting

Fig. 4.21 Mapping of Brazil.

Fig. 4.22 Diagram - Descriptive Organization

Fig. 4.51 Sketch Resigned Structure

116

Fig. 4.23 Ideogram.

Fig. 4.52 Sketch Resigned Structure

117

Fig. 4.24 Ideogram.

Fig. 4.53 Sketch of the Structure Assembly

118

Fig. 4.25 Mapping of David

Fig. 4.54 Sketch of the Structure that Holds

119

Fig. 4.26 David. Michelangelo, 1501-04.

Fig. 4.55 Model of the Idea - Lounge Chair Wire

120

Fig. 4.27 Diagram - Dialogue and Negotiation

Fig. 4.56 Model of the Idea - Lounge Chair in Wire- Front

121

Fig. 4.28 Diagram - “Cheios e Vazios”

Fig. 4.57 Model of the Idea - Lounge Chair in Wire - Left Side

121

Fig. 4.29 Diagram - Explosion and Bond

Fig. 4.58 Model of the Idea - Lounge Chair in Wire - Right Side

121

Fig. 4.30 Mapping of David as Adam

Fig. 4.59 Model of the Idea - Lounge Chair in Wire - Back

121

Fig. 4.31 The Creation of Adam. Michelangelo, 1512

Fig. 4.60 Sketch of the Independent Low Chair

122

Fig. 4.32 Reorganization of the Diagram - Presence of the Body.

Fig. 4.61 Model of the Idea - Low Chair Wire

124

Fig. 4.33 Reorganization of the Diagram - Absence of the Body.

Fig. 4.62 Model of the Idea - Low Chair in Wire- Front

125

Fig. 4.34 Sketch of the Negotiation between Body and Diagram

Fig. 4.63 Model of the Idea - Low Chair in Wire - Left Side

125

Fig. 4.35 Sketch of the Negotiation between Body and Diagram

100

Fig. 4.64 Model of the Idea - Low Chair in Wire - Right Side

125

Fig. 4.36 Volumetric Nature of the Diagram

101

Fig. 4.65 Model of the Idea - Low Chair in Wire - Back

125

Fig. 4.37 Sketch of the Idea Construction

102

Fig. 4.66 Model of the Idea - Low Chair Leather

126

Fig. 4.38 Model of the shape that holds the body

104

Fig. 4.67 Model of the Idea - Low Chair in Leather- Front

127

Fig. 4.39 Sewing Pattern

105

Fig. 4.68 Model of the Idea - Low Chair in Leather - Left Side

127

Fig. 4.40 Model of the Idea - Lounge Chair in Tapestry

106

Fig. 4.69 Model of the Idea - Low Chair in Leather - Right Side

127

Fig. 4.41 Model of the Idea - Lounge Chair in Tapestry - Front

107

Fig. 4.70 Model of the Idea - Low Chair in Leather - Back

127

Fig. 4.42 Model of the Idea - Lounge Chair in Tapestry - Left Side

107

Fig. 4.71 Sketch of the Ethereal Armchair

128

Fig. 4.43 Model of the Idea - Lounge Chair in Tapestry - Right Side

107

Fig. 4.72 Mapping of Mary and Christ

129

Fig. 4.44 Model of the Idea - Lounge Chair in Tapestry - Back

107

Fig. 4.73 Model of the Idea - Armchair in Wire - Right Side

130

Fig. 4.45 Mapping of Pietà - David as Christ

108

Fig. 4.74 Model of the Idea - Armchair in Wire - Front

131

Fig. 4.46 Michelangelo. Pietà,1498-1500.

109

Fig. 4.75 Model of the Idea - Armchair in Wire - Left Side

131

Fig. 4.47 Mapping and Dissecting Pietà

110

Fig. 4.76 Model of the Idea - Armchair in Wire - Left Side

131

Fig. 4.48 Sketch of Mary’s Hands.

111

Fig. 4.77 Model of the Idea - Armchair in Wire - Back

131

Fig. 4.49 Reorganization of the Diagram - Presence of the Body.

112

Fig. 4.78 Model of the Idea - Armchair in Leather - Right Side

132

Fig. 4.50 Reorganization of the Diagram - Absence of the Body.

114

Fig. 4.79 Model of the Idea - Armchair in Leather - Front

133

Fig. 4.80 Model of the Idea - Armchair in Leather- Left Side

133

Fig. 4.109 Oscar Niemeyer. Palacio do Itamarati, Brasilia, 1970. In assembly with ideas stemming from this research.

157

Fig. 4.81 Model of the Idea - Armchair in Leather - Left Side

133

Fig. 4.110 Oscar Niemeyer. National Congress, Brasilia, 1960. In assembly with ideas stemming from this research.

159

Fig. 4.82 Model of the Idea - Armchair in Leather- Back

133

Fig. 5.1 Sketch of Mary’s hand.

160

Fig. 4.83 Mapping of the Hopeless Cushion

134

Fig. 5.2 Protest at the National Congress of Brazil, June 17, 2013.

164

Fig. 4.84 Mapping of the Hopeless Body of Christ

135

Fig. 4.85 Model of the Idea - Armchair in Leather - Cushion - Right Side

136

Fig. 4.86 Model of the Idea - Armchair Cushion - Front

137

Fig. 4.87 Model of the Idea - Armchair Cushion Attached - Back

137

Fig. 4.88 Model of the Idea - Armchair Cushion- Left Side

137

Fig. 4.89 Model of the Idea - Armchair Cushion - Back

137

Fig. 4.90 Mapping of David as Venus

138

Fig. 4.91 Alexandre Cabanel. The Birth of Venus, 1863.

139

Fig. 4.92 Reorganization of the Diagram - Presence of the Body.

140

Fig. 4.93 Reorganization of the Diagram - Absence of the Body.

142

Fig. 4.94 Diagramming and Mapping the Horizontal Object

144

Fig. 4.95 Diagramming and Mapping the Horizontal Object

145

Fig. 4.96 Model of the Idea - The Horizontal Object

146

Fig. 4.97 Model of the Idea - The Horizontal Object

147

Fig. 4.98 Model of the Idea - The Horizontal Object

147

Fig. 4.99 Model of the Idea - The Horizontal Object

147

Fig. 4.100 Model of the Idea - The Horizontal Object

147

Fig. 4.101 Diagramming and Mapping - The Object

148

Fig. 4.102 Diagram - Descriptive Organization

149

Fig. 4.103 Model of the Idea - The Object

150

Fig. 4.104 Model of the Idea - The Object

151

Fig. 4.105 Author’s work in partnership with Cesar Coppola in composition with the Lounge Chair Tapestry and the Horizontal Object

152

Fig. 4.106 Author’s work in partnership with Cesar Coppola in composition with the Low Chair in Leather

154

Fig. 4.107 Author’s work in partnership with Cesar Coppola in composition with the Armchair in Leather with Cushion

155

Fig. 4.108 Author’s work in partnership with Cesar Coppola in composition with the Armchair Wire

156

Acknowledgments

I am grateful to the University of Florida - Orlando CityLab

impossible does not exist.

and especially my professors, Stephen Bender, for the

I have so much of her in me that I reaffirm Elis Regina in

empathy and support, Frank Bosworth, for introducing

the lyrics of the song: “Somos como nossos pais”.

me to Phenomenology, for caring, and believing in my capability, and Albertus Wang, for choosing me

I am grateful to my brothers, André, Marcus Fernando (in

be part of his lineage, for his generosity in sharing

memoriam), and Gustavo, for accompanying me on this

his experiences and knowledge and for broadening my

journey and motivating and supporting me, but especially

horizons, encouraging me to revisit and question my own

to Nando, who among the many things he taught me,

assumptions and opening up a meaningful world that

to paraphrase Niemeyer, “life is a breath” and now is

allowed me to grow.

important.

I thank my friend Maria Victoria Marchelli for the

I thank my husband, Cesar Coppola, my partner in

encouragement and for extending her hand to me.

everything in this life, my mainstay, my right and left arm too; to Olivia, my daughter, for so much understanding

I thank my family for all their love and for always

and maturity at the height of her nine years old. Mom is

believing, especially my grandfather, Nelson Coppede (in

coming.

memoriam), for being a reference of humility and inspiring me with his talent. I think that his wood carving work for

And finally, and most importantly, I praise God for allowing

the furniture factory, Irmãos Coppede, is also carved

all this to exist.

in my soul; to my grandmother, Aparecida Coppede (in memoriam), for the reference of strength, perseverance, and altruism, and for making me believe with God that the

The achievement is ours!

Fig. 1.1 Sketch of Mary’s faithful hand.

Abstract

Architecture is a multidisciplinary field in which the idea

and tectonics, being the mediator between the conceptual

is generative. It is a mediation between ethics and poetic,

idea (metaphysical) and the built-environment or artifacts

intention and intuition, physical and metaphysical aspects.

(physical). Foster argues that the parti diagram could generate a design of all scales - urban, architecture, and

Alberto Perez-Gomes calls attention to the necessity of

artifacts.

the valorization of the poetic imagination of architects: How do architects generate ideas? What inspires them?

This thesis adopts this theoretical premise and tests it using the example of furniture design. The methodology

We internalize all our experiences and observations

starts by understanding the essence of a painting

creating in our minds a narrative that may or may not be

Di Cavalcanti, depicting the conquest of Brasilia. A

related to what we see or experience. Thus, we form our

parti diagram is generated by mapping - considering the

repertories that are accessed during the creative process

morphology of the painting - and diagramming or outlining

and, in conjunction with the specifics proposed by a

its descriptive organization.

given design, lead to an idea. Architects can be inspired by something, and its essence becomes Architecture;

Then, borrowing human bodies from other master-pieces,

in this way, we borrow the essence of what inspired us.

the body is introduced as both “scale” and “program,”

This process of constructing an idea can happen in many

establishing a dialogue between the conceptual, historical,

different ways.

philosophical, and contextual aspects within the diagram. After this process of negotiation between the diagram, the

This work revisits Mae Lee T. Foster’s arguments about

body, and the essence of the object of design has

the elaboration of conceptual diagrams, or parti diagrams,

taken place, the idea is born.

as a process of constructing and reinventing the design

idea and understanding the underlying systems in

This research aims to uncover another layer of

architecture. Those systems include concept, spatiality,

understanding how design can be approached.

Fig. 1.2 Mapping of The Creation of Adam.

Introduction

Fig. 1.3 Vilanova Artigas. Mulheres

Introduction 1.1 Background of the Problem Alberto Perez-Gomez, in his book Built Upon Love (2006),

This research project aligns with phenomenology, in the

argues that if architecture is seen merely as a product

existential philosophy, which discusses the essence of

of social or economic forces, this misses the point. He

consciousness and defines the fundamental concepts of

emphasizes that Architecture may be understood as a

things.

discipline that over the centuries has been capable of “offering humanity to widely different incarnations and

Architecture is a multidisciplinary field in which the idea is

most of its production far more than superfluous pleasure

generative. It is a mediation between ethics and poetics,

or technical solutions for pragmatic necessities.” He calls

intention and intuition, physical and metaphysical aspects.

attention to the crucial role of the poetic imagination in architecture.

Perez-Gomez calls attention to the necessity of the valorization of the poetic imagination of architects: How

“The return of the poetic dimension to architecture is

do architects generate ideas? What inspires them?

not caused by nostalgia for the sacred past, but by a general tendency to turn to methodologies focused on

Our perception collects information transmitted by our

artistic practices. Thus, through phenomenology and

senses. This is then associated with the meanings we

hermeneutics Perez-Gomez develops a strict theory

attribute to these data collected from the environment

in which love is the central concept that overcomes the

through interpretation, which is absolutely personal. We

duality of an idea and an embodiment, technological and

thus create in our minds a narrative that may or may not

artistic. His theory of architecture which is built upon love

be related to what we see or experience. Finally, we form

can legitimately function on the territory of any productive

our repertories that are accessed during the creative

activity.”1

process and, in conjunction with the specifics proposed

Fig. 1.4 Massimiliano Fuksas. Diagram of Congress Center Italy, Rome, 2005.

by a given design, lead to an idea. In the spectrum of artificial intelligence where machine force prevails over human force, it is phenomenology

The notion that “something can become something

that allows human participation and poetics to thrive.

else” reveals to what extent our surroundings inspire the making of architectural ideas.

Marat Nevlyutov apud Perez-Gomez, Study on Principles of Love in Architecture. (Moscow: ICASSEE, 2018.), 425. 1

Ideas are embedded in everything — nature, art,

generating ideas, being it Map - a system that considers

architecture, furniture, fashion, gastronomy, among

the morphology of things, or Diagram - a system which

others. Design ideas are expressed in a whole variety

does not consider the morphology of things.

of different ways and different ideas can generate Architecture. This process of construction of an idea can

This thesis adopts this theoretical premise and tests it

happen in a structured or intuitive way.

using the example of furniture design. The methodology starts by understanding the essence of a painting by Di

The Italian architect Massimiliano Fuksas was inspired by

Cavalcanti, depicting the conquest of Brasilia. A parti

clouds being buffered by strong winds for his Congress

diagram is generated by mapping - considering the

Center Italy, in Rome, 2005. He used his painting for

morphology of the painting - and diagramming or outlining

diagramming and mapping to convey his idea. (Fig. 1.4

its descriptive organization.

and 1.5) In addition to the diagram inspired in the painting by di This work revisits Mae Lee T. Foster’s arguments about

Cavalcanti, David, Venus, and the Pietà are examined in

the elaboration of conceptual diagrams, or parti diagrams,

similar fashion, introduced as “scale”and “program”, and

as a process of constructing and reinventing the design

the diagrams resulted from their relationships are used to

idea and understanding the underlying systems in

inspire the creation of objects infused with their essence.

architecture.2 Those systems include concept, spatiality, and tectonics, being the mediator between the conceptual

In search for a more humane and culturally contextualized

idea (metaphysical) and the built-environment or artifacts

architecture, full of experiential and symbolic qualities,

(physical). Foster argues that the parti diagram could

which enhance man’s existential feeling of being and

generate a design of all scales - urban, architecture, and

being in the world, this research aims to uncover another

artifacts.

layer of understanding of how design can be approached.

This research focuses on diagrams no longer as pure geometry or structure, but rather containing all the meanings that underline its essence. It is about the use of diagrams not as a justification of ideas, but as a tool for Maelee Thomson Foster, Conceptual Diagramming: A Creative Process Forming the Material from the Imagined. (Gainesville: 85th ACSA Annual Meeting Proceedings, Architecture: Material and Imagined. 1997), 199. 2

Fig. 1.5 Massimiliano Fuksas. Model of the Congress Center Italy, Rome, 2005.

Theory and Method

Fig. 2.1- Vilanova Artigas. Mão

Theory 2.1 Diagramming and Mapping Origins

For a better understanding of the proposed methodology,

The definition of the diagram, its use and forms of

a brief introduction to the diagram’s origin, its components,

representation, has evolved along with civilizations and

and its processes will be presented to bring out its

their social, cultural and technological changes.

underlying theoretical aspects. “Drawing - as a word, as we shall see, brings with its extraordinary semantic content. This content is equivalent to a mirror that reflects all the handling of art and technique in the course of history. It is the method of linguistics; of philosophical and plastic neo-humanism, which simply begins, but may become one of the new forms of modern reflection on the higher activities of society. The semantic content of the word drawing unveils what it contains of human work during our long history. [...] “Paleolithic graphics, the origin of drawing, our language, was certainly born before oral language. It was the language of a very humble technique and also the language of the foreground of rudimentary human nature. In the most primitive thought, there are traces of the scientific spirit”.2

Since prehistory, diagrams have been used as a means of communication and transmission of ideas and knowledge. The first written symbols were based on pictograms, which convey meaning through their resemblance to a physical object - mapping, and ideograms, symbols that represent ideas or concepts - abstraction. They have been used by various ancestral cultures around the world since the Paleolithic era. Diagrams in architecture are as old as architecture itself, they are present since its most primitive expressions: “from Stonehenge in England to the ancient native

Fig. 2.2 Stonehenge: prehistoric monument. England, 3000 BC to 2000 BC.

American-Indian petroglyphs carved into rock, diagrams were used in order to express senses of space and place.” 1 (Fig. 2.2)

Mark Garcia, The Diagrams of Architecture. (Chichester : Wiley, 2010), 5. 1

João Batista Vilanova Artigas, O Desenho. For the inaugural lecture at the College of Architecture and Urbanism of the University of São Paulo, 1967. Casa Vilanova Artigas Foundation. <http://www.garquitetura.com.br/odesenho.html>

2.2 Diagramming Groundings

The purpose of this research is to test a methodology that

“The conceptual diagram, “An Instrument of Thought” incorporates within its multilayered image the synthesis, the spatial organization that generates the creative solution to the design problem; it is within the imagined concept that the material form is embodied. Conceived as a holistic system of related parts, systems and subsystems derived from perceptually gathered data, the diagram is a creative statement that demands passion and total concentration for its physical making. Unifying the mind and the body in a single focus, participation in the process affords the maker an opportunity to experience an intense “Flow” of physic energy - what we as designers know as joy”. 3

can be used by architects to construct ideas, recalling poetics in the making of architecture. This brings to light the use of conceptual diagrams as an instrument of understanding the relationship between form, spatial configuration, structural system, and the underlying system - both conceptual and literal. For this reason, it is important to reference the work of Maelee Thompson Foster (1932-2018), Professor Emeritus of Architecture at the University of Florida, one of the first women to be hired, tenured and promoted to Full Professor in the College of Architecture, and who

Maelee T. Foster, in her life long research dedicated to

advocated the use of conceptual diagramming as a

diagrams, considers the first recorded use of diagrams

creative process.

as tool to communicate design ideas found in Paul Klee’s Pedagogical Sketchbook of 1925. Through

Although Professor Foster’s book remains unpublished,

abstract images and writings, Klee explained “forces and

her articles in academic journals and her legacy in forming

characteristics of lines in action, with their resultant zones

generations of architects remain. Today, her teachings

and spatial relationships.(Fig 2.3) [...] It was the Bauhaus

are transmitted by Professor Albertus Sunliang-Lui Wang,

Masters who examined and documented the diagram’s

chair of this Master’s Research Project.

constructive components as we know them and explored their inherent structural forces.”4

Fig. 2.3 Paul Klee. Pedagogical Sketchbook. 1925. Maelee Thomson Foster. Conceptual Diagramming: A Creative Process Forming the Material from the Imagined. (Gainesville: 85th ACSA Annual Meeting Proceedings, Architecture: Material and Imagined. 1997),199. 3

Ibid,199.

Josef Albers (1888 - 1976), the German-born American

Albers’ theory lies at the hear of layering. He points out that

artist and educator, was a Bauhaus student and professor,

the introduction of “non-information patterns and textures”

who immigrated to the United States of America with his

happen “simply through their combined presence. Josef

wife, the artist Anni Albers (1899–1994), due to Nazi

Albers defines this visual effect as “1 + 1 = 3 or more”,

persecution. Albers became head of the art department

when two elements show themselves along with assorted

at Black Mountain College, North Carolina, then taught

incidental by-products of partnership”.5 (Fig. 2.4)

at various colleges and universities in the United States and, from 1950 to 1958, served as head of the design

He cautioned that when diagramming, it is necessary to

department at Yale University.

be aware that the background space is also perceived as a graphic element. This is why one plus one does not

Joseph Albers’ concepts are referenced by Professor

equal two.

Foster and influenced her in her work, especially as both recognized the importance of diagramming as a

In his book The Interaction of Color (1963), Josef

cognitive act of layering aspects or systems establishing

Albers demonstrates the relativity, the elasticity, and

a descriptive organization between them to convey an

interdependence of color, and explains that the physical

idea.

- or the reality - is different from the physiological - or the perception. Thus, physical color is rarely perceived. (Fig.

Albers’ legacy as a teacher of artists, as well as his

2.6)

extensive theoretical work proposing that color, rather than form, is the primary medium of pictorial language,

Albers took a pioneering look at line, form, and color. He

profoundly influenced the development of modern art.

demonstrates in his theories and his works the creation of space from lines or colors, exploring thicknesses and composition, making them relative, fundamentals for

Fig. 2.5 Josef Albers. Structural Constellation, 1958.

one graphic element

optical illusions. (Fig. 2.5) three graphic elements Edward R. Tufte, Envisioning Information: Escaping Flatland, Micro/ Macro Readings, Layering and Separation, Small Multiples, Color and Information, Narratives of Space and Time. (Cheshire, CT: Graphics Press, 1990), 53. 5

Fig. 2.4 From Albers’ Theory 1+1=3 or more

Josef Albers explored the psychological processes

Albers was deeply engaged with the philosophical

involved in perception - for example optical illusions - in

thoughts of Socrates, the dialectical method.

which the physical stimulus is perceived differently than it is in reality. Perception is the collection of information

What is meant by reality?

from something captured by sensory receptors (sense

What makes a flower a flower?

organs), yet there is another element involved, one

What is the essence of a thing?

associated with the meanings attributed to these data collected from the environment - namely interpretation or

Plato, as a follower of Socrates, created the Theory of

personal experiences.

Forms.8 “The appleness of the apple”. This “appleness” is the true form or essence of apples that is derived from

Nicholas Fox Weber, president of the Josef and Anni

the world of forms. The “appleness,” or essence of things,

Albers Foundation, says that Albers’ work is marked by

is the underlying system of something - metaphysically

meanings profoundly associated with his spirituality, as a

speaking.

result of a meditative and spiritual process of vision.6 This “underlying system of something” is what Maelee T. Karsten Harries, philosopher and professor, was a

Foster argues inspires the making of architecture, and

student of the drawing discipline taught by Albers at Yale

she refers to it as a conceptual diagram.

in 1956. In an interview for Faruqee Anoka, he described an assignment given by Albers.7 Josef Albers asked them to draw the essence of a flower. They should draw its essence without any representation of the flower; they were to find an abstract language.

Fig. 2.6 Josef Albers. Homage to the Square: R-NW IV, 1966.

Nicholas Fox Weber, Josef Albers, Sublime Optics. (Milan: Fondazione Stelline. YouTube. Video file. October 23, 2013).<https:// www.youtube.com/watch?v=sS8DdmOfK9U> 6

Plato, Theory of Forms. 358 B.C. Platonic Theories. Nov 13,2014. <https://platonictheories.wordpress.com/2014/11/13/theory-of-forms/> 8

Faruqee Anoka, Search Versus Re-Search: Recollections of Josef Albers at Yale, a film by Faruqee Anoka. (New Heaven: Josef and Anni Albers Foundation on Vimeo. Video file. 2017). <https://vimeo. com/207155945> 7

2.3 Conceptual Diagram Maelee T. Foster declares that a “diagram is a mental

“graphic language”12 that might be carefully selected

construct stated in visual terms. It represents a set of

for diagramming: point, line, shapes of space or signs

ideas that through their intrinsic relationships form a

and symbols (Fig. 2.7), that relate to one another or

structure that can be manipulated, reworked and refined,

not when layered and connected, revealing their spatial

until a holistic statement, a concept is formed.”9

relationships and figure/ground, forming patterns. “These patterns when fused together through common relationships create a cohesive structure resulting in a

“A diagram is the evidence of an idea being structured. It is not the idea itself but a model of it, intended to clarify characteristics of features of that idea. It is a form of communication which increases the pace of development, or allows an idea to function and develop for the thinker while offering the possibility of transferring it to others. In addition, through appropriate structuring, a diagram may generate different notions and states of mind in the viewer, combining verbal, numerical and visual functions with analytic and associative processes of thought.” 10

diagrammatic statement rich in meaning.”13 Maelee T. Foster calls attention to perception, the exploration of the negative and positive spaces and their interchangeable placement - one recedes into the picture plane while the other ﬂoats to the surface - and the figure/ground principles, that guarantee all shapes of space contained in the diagram have meaning within the diagram, just as all spaces in a design must have meaning. The same principles are found in Albers’ theory, in which the figure / ground relationship, the graphic weight of

Foster states that “the meanings assigned by the maker,

the lines and how they connect ordered zones creating

take the form of signs and/or symbols, which are selected

negatives and positives, the observation of the parts and

to reveal the essence of what they are indicating”.

the totality are determinants of this creation of spatiality.

She identifies the elements, or components, used as

Maelee Thomson Foster, Conceptual Diagramming: A Creative Process Forming the Material from the Imagined. (Gainesville: 85th ACSA Annual Meeting Proceedings, Architecture: Material and Imagined. University of Florida, Gainesville. 1997), 199.

Keith Albarn and Jenny Miall Smith, Diagram the Instrument of Thought. (London: Thames and Hudson,1977), 7.

Paul Laseau. Term used for point, line, and zone as alphabet of diagramming in his book “Graphic Thinking for Architects & Designers.” (Wiley. NY,1980) quoted in Foster, Conceptual Diagramming,1997, 200.

Fig. 2.7 Kandinsky. A Leap of the Dancer Palucca and A Graphic Diagram of the Leap.

Foster. Conceptual Diagramming. 1997, 199-200.

Foster, Conceptual Diagramming. 1997, 200. 37

Foster argues that diagramming, as a visual instrument of

“The idea of a diagram, or pattern, is very simple. It is an abstract pattern of physical relationships which resolves a small system of interacting and conflicting forces, and is independent of all other forces, and of all other possible diagrams. The idea that it is possible to create such abstract relationships one at a time, and to create designs which are whole by fusing these relationships - this amazingly simple idea is, for me, the most important discovery of the book. I have discovered since, that these abstract diagrams not only allow you to create a single whole from them, by fusion, but also have other even more important powers. Because the diagrams are independent of one another, you can study them and improve them one at a time, so that their evolution can be gradual and cumulative. More important still, because they are abstract and independent, you can use them to create not just one design, but an infinite variety of designs, all of them free combinations of the same set of patterns. As you can see, it is the independence of the diagrams which gives them these powers.”15

thinking, helps its maker identify, analyze, interpret, order, and communicate complex ideas. In the design process, it can relate programmatic issues, contextual constraints, and site forces - as diagrammatic components - that through manipulation result in a design idea. These diagrammatic components can indicate specific meanings - design issues, concerns, forces, systems, actions, behavior or, other aspect to be addressed in the design – that will be fused together to become something. (Fig. 2.8) She mentions Christopher Alexander (1936), BritishAmerican architect and design theorist, emeritus professor at the University of California - Berkeley, “as the originator of the diagram,”

or the language of pattern, similar to

her approach of conceptual diagrams, within the design field. Alexander claims that the diagram, or pattern, as an abstraction, is infinite in its ability to generate ideas or design solutions, either as a whole or independently as parts or systems. (Fig. 2.9) Fig. 2.8 M. Richmond, advanced student work. In Maelee T. Foster. A Comprehensive Description of a Diagram Conceptual Diagram.

Foster, Conceptual Diagramming. 1997, 200.

Christopher Alexander, Notes on the Synthesis of Form. (Cambridge, Massachusetts: Harvard University Press. 1964), Preface. 15

In this statement, Alexander reveals that a diagram, or pattern, due to its abstract aspect, has an infinite capacity to construct ideas, those arising from the whole or from its parts - systems and subsystems, independent or combined, in an inexhaustible combination of possibilities. The limitless function of the conceptual diagram, its comprehensiveness, and the intimate and cognitive relationship it shares with its maker, makes diagramming a relevant instrument for a more holistic approach to the creative process.

Fig. 2.9 J.T. Kerr, design one student. In Maelee T. Foster. A Comprehensive Description of a Diagram. The diagrammatic transformation.

Precedents

Fig. 3.1 Oscar Niemeyer. Sketch.

Precedents 3.1 Creative Processes

The cognitive process in which our surroundings and experiences inspire the making of architecture, and diagrams are used as an instrument to construct and convey ideas, is exemplified in the work of various masters of architecture. In the 19th and 20th centuries, the concept of “Gesamtkunstwerk”, or “total work of art,” was applied to the arts in general.1 This experience merged other arts into Architecture, but beyond that pushed architects to act not only on the design of a building but on everything that went into the building as well. It expanded the work of the architects from the largest to the smallest scales. These concepts were widely applied by the architects of the modern movement. Fig. 3.2 Joseph Albers. After Nightfall, 1948 - 53.

Setting guidelines of the Gesamtkunstwerk, E. T. A. Hoffman stated that “an artwork completes in itself, in which partial contributions of the related and collaborating arts blend together, disappear, and, in disappearing, somehow form a new world.” (1816)2

Gesamtkunstwerk (“total work of art”) describes an artwork, design, or creative process where different art forms are combined to create a single cohesive whole, conceived by Richard Wagner. (The Art Story. Ideas/Gesamtkunstwerk/History).<https://www.theartstory.org/ definition/gesamtkunstwerk/history-and-concepts/> 1

Oliver Strunk apud Ernst Theodor Amadeus Hoffmann, Readings in Music History. The Romantic Era. (New York: W.W. Norton & Co., 1965), 63. 2

3.1.1 Carlo Scarpa (1906, Italy - 1978, Japan)

Fig. 3.3 Carlo Scarpa. “A Fili” vase, blown glass, circa 1942.

Fig. 3.4 Carlo Scarpa. Luo Table Samo, 1970.

The Italian architect Carlo Scarpa, influenced by the materials, landscape, Venetian and Japanese cultures, turned his interest in history, regionalism, and craftsmanship. His ingenious glass and furniture designs and his architecture reflect the integration between history, ancient crafts, attention to detail, and devotion to environmentalism within a clearly modern aesthetic. Inspired by artists such as Rothko (Fig. 3.2), Mondrian, Klimt, and Joseph Albers, Scarpa used parti diagrams and mapping as a tool to generate Architecture at various scales.

Fig. 3.5 Carlo Scarpa.The Brion Cemetery, 1968 - 78.

Fig. 3.6 Carlo Scarpa. Diagram.

3.2 Le Corbusier (1887, Switzerland - 1965, France)

Fig. 3.7 Charles-Edouard Jeanneret. Nature Morte Verticale,

Fig. 3.8 Le Corbusier. Sketch of Villa La Roche/Jeanneret,

Kunstmuseum Basel, Switzerland, 1922.

Paris, 1923 - 25.

Architect, designer, painter, urban planner, and writer

For Le Corbusier, his paintings were as crucial as his

Charles-Edouard Jeanneret, or Le Corbusier, was one of

architecture.

the pioneers of the Modern Movement and one of the most

He created a vocabulary of shapes and experienced the

influential architects of all time. His diagram for the Dom-

relationship between them through diagramming and

Ino house became the starting point for the architectural

mapping. He brought the chromaticism of his paintings

production that followed.

into his architecture masterpieces.

“Architecture is a thing of art, a phenomenon of the emotions, lying outside questions of construction and beyond them. The purpose of construction is to make things together; of architecture to move us. Architectural emotion exists when the work rings within us in tune with a universe whose laws we obey, recognize and respect. When certain harmonies have been attained, the work captures us. Architecture is a matter of “harmonies,” it is “a pure creation of the spirit.”” Le Corbusier, Towards a New Architecture. (London: J. Rodker, 1931), 19. Fig. 3.9 Le Corbusier. Villa La Roche, 1925.

He also created furniture and stated that concrete was to architecture what steel was to furniture.

3.3 Richard Meier (1934, United States of America)

Fig. 3.10 Richard Meier. Lectern diagram, 1972.

Fig. 3.11 Richard Meier. Meier Collection for Knoll.

The modernist architect Richard Meier, acclaimed for his abstract white buildings and a Pritzker Prize winner in 1984, considers furniture an integral part of his design and states that the design methodology is the same for both scales and explains: “In many ways the chair developed in the manner of a work of architecture. The simple idea of the chair

“Furniture has always been an integral part of each space I design. I see it as yet another means by which the space

emerged from a double cube, one on top of the other.”3 His diagram becomes his furniture.

can be shaped and manipulated,” says Richard Meier about his furniture collection for Knoll. 1

Richard Meier. The Richard Meier Collection. Knoll.<https://www.knoll.com/knollnewsdetail/the-richard-meier-collection>

1 Richard Meier. The Richard Meier Collection. Knoll.<https://www.knoll.com/knollnewsdetail/the-richard-meier-collection>

3.4 Lucio Costa (1902, France - 1998, Brazil)

Fig. 3.12 Lucio Costa. Parti Diagram for the master plan of Brasilia - Plano Piloto, Brasilia,1956.

Lucio Costa won the contest for the Master Plan of Brasilia,

Known worldwide for being one of the greatest

the federal capital of Brazil, in 1956, having only his

architectural creations in history, Brasilia was founded

cross-shaped parti diagram that defined the Monumental

in the 1960s and is considered by UNESCO as a World

axis and the other in which the city developed. He used

Heritage Site.

Fig. 3.13 Aerial view of Brasilia.

diagramming and mapping to become his urban design. At that time, the idea prevailed over other forces.

3.5 Oscar Niemeyer (1907, Brazil - 2012, Brazil)

Fig. 3.14 Oscar Niemeyer. Parti Diagram for The Niteroi Museum of Contemporary Art, RJ - Brazil, 1996.

Considered to be a key figure in the development of modern

before it came to Brazil, with his imaginative architecture,

architecture, the Brazilian architect Oscar Niemeyer was

which dialogues with its natural surroundings and provides

awarded the Pritzker Prize in 1998. Niemeyer’s work is an

humans with multi-sensory experiences. Fig. 3.15 Oscar Niemeyer. The Niteroi Museum of Contemporary Art, Rio de Janeiro - Brazil, 1996.

example of imaginative poetic in architecture. Rio de Janeiro’s topography and the bodies of

Adept of integrating architecture-structure-art-nature, he

Brazilian women were Oscar Niemeyer’s most constant

challenged engineering with the subtle and audacious

inspirations. With the Niteroi Museum of Contemporary

curves of his architecture. Niemeyer demonstrated a

Art, he envisioned a building opening like a flower on top

certain alignment with phenomenological philosophy even

of a hill.

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Fig. 3.16 Oscar Niemeyer and Anna Maria Niemeyer. Oscar Niemeyer’s Sketch for Alta Lounge Chair, 1971.

His diagram becomes his architecture.

his concepts.

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Fig. 3.17 Oscar Niemeyer and Anna Maria Niemeyer. Alta Lounge Chair, 1971.

U 1LHPH HU )RNiemeyer. XQGDWLRItQexemplifies the same 3UHOLPLQDU\ 6NHWFK 6RXUFH 2VFDdesigned by\ Oscar

for his buildings. In the documentary “A Vida é um Sopro”,

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he stated that the furniture and its layout could modify the

exquisite curves made famous in Niemeyer’s influential

His diagram becomes his furniture.

building experience and lose the intent of his concept. He

architecture.

“In Niemeyer’s modernism, the creation of architecture is an essentially spiritual act: a response to the monumental

designed a series of furniture pieces that dialogues with

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presence of nature that gives rise to forms created by man, but based on natural lines. It was in this way that Niemeyer

lent his poetic style to furniture design started in 1971.”4 After light and space, the furniture and its appropriation of space are the elements that most influence the multisensory experience of a building. Considering that diagrams can be used as a methodology to design all scales of Architecture, it can improve the dialogue between them.

Fig. 3.18 Perception of Space

4 David Underwood, Oscar Niemeyer e o Modernismo de Formas Livres no Brasil. São Paulo: Cosac & Naify. São Paulo, 2002), 128.

Methodology and Poetics

Fig. 4.1 Vilanova Artigas. Bailarina

Inspirational Element 4.1 Di Cavalcanti’s Masterpiece

Fig. 4.2 Di Cavalcanti. Unnamed, oil on canvas,Brasilia, 1960.

The methodology proposed in this Master’s Research Project begins by choosing an inspirational element that, in this

the creators of the Modern Art Week of 1922. He lived in Paris from 1923 to 1925, where he met Picasso, Braque, and

work, is a cultural artifact. The process develops through mapping and diagramming the painting, understanding its

Matisse. In 1937, he received a gold medal at the Technical Art Exhibition in Paris and, in 1953, he was awarded the

essence, and generating a parti diagram for furniture design.

best national painter at the II Bienal de São Paulo.

The chosen work is a painting by Di Cavalcanti, a significant modernist artist whose had this work commissioned by

The masterpiece has no name, but it depicts the conquest of Brasilia by the “candangos”1, the men who built Brasilia,

President Juscelino Kubitschek for the inauguration of Brasilia. (Fig. 4.2)

among whom Di Cavalcanti included himself.

Emiliano Di Cavalcanti de Albuquerque e Melo was one of the pioneers of modern art in Brazil, having been one of

The painting is in the National Congress building, at the center of the Three Powers plaza.

Candango: was born from Kungundu, which expressed to Africans the idea of bad, ordinary, villain. It was the designation they gave to the Portuguese dedicated to the profitable slave trade. Over time she began to designate the opposition between coast and interior and, more specifically, that worker, the product of industrialization, who left the interior to venture into the great city moved by the promise of jobs. That’s how the word got to Brasilia. During the building of the city the word changed its connotation; it went from derogatory to uplifting. President, architects, engineers, doctors, lawyers, merchants, workers, truck drivers, in short, all those involved in the process of building the city became candangos. The word candango came to mark a concept, or an ideology. The ideology of equality that was translated into the idea of ‘big family’. This idea replaced social distinctions and homogenized the relationships that were established during the consolidation of the Brasília dream. Os Candangos. Paraná State Department of Education. <http://www.historia.seed.pr.gov.br/modules/conteudo/conteudo.php?conteudo=231> 1

4.1.2 Brazil of Macunaíma A brief summary of the political history of Brazil is

when it was declared independent

necessary to understand the importance of Brasilia and the historical, social, and cultural context of Di

In 1822, D. Pedro I proclaimed independence and

Cavalcanti’s painting.

became the first emperor of Brazil. In 1888 slavery was abolished and in 1889, the Federative Republic of Brazil

Brazil was discovered in the year 1500 by the Portuguese

was proclaimed, which culminated in the expulsion of the

during the Age of Exploration. Brazil, a country of

royal family from Brazil in 1889.

continental dimensions and of exuberant nature, has had its history marked by almost three centuries of Portuguese

The formation of the Brazilian republic, after a long history

rule. Its name was given to it by the Portuguese due to

of exploitation and colonialism, was guided by the search

the great presence of the Pau-Brasil tree, the first object

for an effective political system, a national artistic and

of Portuguese greed, which was systematically extracted

cultural identity, and by representation in the new non-

and exported to Lisbon, leading the species to near

colonial capital.

extinction.

Fig. 4.3 Tarsila do Amaral. O Batizado de Macunaíma. 1956.

In 1922, the year in which 100 years of freedom from In typical colonial fashion 30,000 pounds of gold were taken

Portuguese oppression were celebrated, the Modern

from Minas Gerais along with emeralds and diamonds,

Art Week of 1922 was created, an important artistic

the indigenous population was killed and the use of slave

and cultural landmark organized by the writer Mário de

labor from human trafficking in Africa for the exploitation

Andrade and the painter Di Cavalcanti (see painting,

of cultures such as sugar cane was the norm. Portuguese

p.62), who rejected European influences. Today, this is

colonization left its mark not only on the landscape

“recognized as a pivotal moment in the development of

through its relentless exploitation of natural resources

modern art.”

but also on the people who lived there who were formed from the blending of all these races, cultures and values.

Mário de Andrade published his book Macunaíma, The Hero without a Character (1928), seeking to respond

Rio de Janeiro became the home of the Portuguese

to the desire of the Brazilian people to understand their

royal family in Brazil in 1808 and remained the seat of

identity. The book portrays the result of this mixture, “its

the monarchy of Portugal, Brazil and Algarve until 1822,

wealth and linguistic and cultural diversity, and at the

José Fonseca, A Brief History of Brazil. Travel. New York Times.<https://archive.nytimes.com/www.nytimes.com/fodors/ top/features/travel/destinations/centralandsouthamerica/brazil/ riodejaneiro/fdrs_feat_129_9.html>)

Lucinda Hawksley, 1922: The Year that Changed Brazilian Art. Brazil beyond Football. Art History. BBC. Oct 10,2014. < https://www.bbc. com/culture/article/20140710-a-year-that-changed-brazilian-art>

same time the mediocrity and the petty greed of the elite

and representation were always present, the history

that marks the history of Brazil,” through the figure of the

of the republic, since its beginning, has been marked

anti-hero, Macunaíma, distinguished by his laziness and

by countless coups and impeachments, in a troubled

his. bad character.3

alternation of civil and military rule coupled with corruption and misuse of public funds, which to this day continues

In 1956, then-President Juscelino Kubitschek was elected

the oppression and exploitation of the Brazilian people,

because of his promise to develop the national industry,

this time not at the hands of the Portuguese, but at the

open the national economy to foreign capital and turn

hands of their own government.

Brazil into a model economy with his optimistic slogan “50 years in 5.” Thus began the construction of Brasilia, the

Almost a century after Macunaíma, he still represents us

new capital in search of better national representation.

in many ways, but mainly in the inability to choose our heroes wisely.

Although the people’s yearnings for freedom, identity, Edison Veiga aput Paulo Santilli, Why ‘Macunaíma’, launched 90 years ago, is much more than an entrance exam book. BBC Brasil. Set 15, 2018. <https://www.bbc.com/portuguese/brasil-45491420> 3

We continue to be the Brazil of Macunaímas.

4.1.2 The Three Powers Plaza

The Three Powers Plaza was imagined, by Lucio Costa, from the beginning to be the main symbolic space of the Brasilia, symbolizing the country’s occupation in an institutionalized way. It houses the three powers of government: the Palácio do Planalto (Executive), the National Congress (Legislative) and the Supreme Federal Court (Judiciary). (Fig. 4.4) Lucio Costa positioned the Three Powers Plaza as the culmination of the route of the Monumental Axis, one of the two main ordering axes of the Plano Piloto (master plan), whose sweep comprises the long stretch between the Esplanade of Ministries

“I like several things in this city that, in just two years, has imposed itself in the heart of Brazil: the simplicity of its conception and its different character, at a road and urban era, its scale, worthy of the country and our ambition, and the way in which this monumental scale intertwines with the human scale of residential blocks without breaking the unity of the complex, and I am particularly touched by the adopted parti of locating the headquaters of the three fundamental powers not in the center of the urban core but at its end, on a triangular embankment like a palm of a hand that opens beyond the extended arm of the esplanade where the ministries line up, because thus elevated and treated with architectural dignity and refinement, in contrast to the surrounding wild nature, they offer themselves symbolically to the people: vote that the power is yours. The dignity of intention that presided over the layout, and it touched André Malraux so deeply, is palpable, is available to everyone. The Three Powers Plaza is the Versailles of the people”.2

and the bus station that assumes the role of preparatory space for the plaza. In the recent history of Brazil, the open space of the plaza has exercised its social function, setting the stage for the people’s demonstration against the misuse of power by the country’s government, which would make Lucio Costa and Oscar Niemeyer proud of their concepts as manifested in Brasilia. Fig. 4.4 The Three Powers Plaza - Brasilia

Lucio Costa. Saudação aos Críticos de Arte, 1959. In: COSTA, Lucio. “Registro de uma vivência” (São Paulo: Editora 34, 2018), 2

298-299.

4.2 Methodology Application 4.2.2 Overall Mapping - Empathizing

The Challenge of the New

The Utopia

Fig. 4.6 Ideogram.

Fig. 4.7 Ideogram.

The methodology goes through various stages:

ideograms stratify the ideas embedded in the painting,

Empathizing, Dissecting, Dematerializing, Abstracting,

not only in its symbolic form, but as part of the perception

Organizing, and Constructing Space.

and construction of the contained historical, social, and cultural context. They allow perception in parts, whether

In the process of developing the diagram, there is a

related or not, and ultimately lead to a more holistic

reduction of the morphology but it is not abandoned

interpretation, taking into account the hierarchy, order,

completely. It reflects the ideas of Professor Albertus

and values, covered in the diagram.

Wang, former student of Diane Lewis, who advocated that morphology, the underlying system, and the contextual

In this first overall mapping to the left, the figures are

aspects of the things (as conceptual, historical, and

floating in the plane, with no reference to the ground - the

physical) matter.

challenge of the new. There was some enthusiasm for the Utopia of a New Non-Colonialist Representativeness in

Moreover, as proposed by Professor Frank Bosworth,

Fig. 4.5 Overall Mapping - Empathizing

the Center of the Country.

4.2.3 Overall Mapping - Dissecting

The Main Axis in the Horizontal Field

The Axis Between Governor and Governed

Fig. 4.9 Ideogram.

Fig. 4.10 Ideogram.

The observation of the following aspects in the drawing:

Analysis:

Foreground, Middle Ground, and Background

There are ordinary people on the foreground, the three

Edges

main figures on horseback on middle ground, and the

Order

others on the background.

Axis

The focal point is at the top of the suggested triangle.

Hierarchy

The main vertical axis is in the center of the triangle.

Intersections

The secondary vertical axis that divides color (figures

Symmetry

on horses) and colorlessness (ordinary people in the

Overlapping

foreground) is on the right.

Focal Point.

The horizontal axis is formed by figures out of horses (people) and the triangular base.

Fig. 4.8 Overall Mapping - Dissecting

4.2.4 First Crop Mapping - Empathizing

The Equilibrium

The Three Powers in a Democratic Base

Fig. 4.12 Ideogram.

Fig. 4.13 Ideogram.

The closer and more detailed observation during

Analysis:

mapping the first crop of the painting.

The union of horses may be interpreted as power. Horses have physiognomy and are humanized, whereas the humans on them are not. This may represent the transience of those who govern them. The figures on the horses look at ordinary men, both those in the painting and those who observe the painting. The geometric shape on the head of the central figure signifies equilibrium.

Fig. 4.11 First Crop Mapping - Empathizing

4.2.5 First Crop Mapping - Dissecting

The Republic and the People

The Organization

Fig. 4.15 Ideogram.

Fig. 4.16 Ideogram.

The observation of the following aspects:

Analysis:

Main Axis and Secondary Axis

The union of the three main figures and separation of the

Union and Separation

people.

Horizontal Field

The equilateral triangle as the formation of the power

Three Powers

meaning the Three Powers: on the left, the Legislative composed by two (senators and deputies) with skilled hands; on the right, the Judiciary with blinded eyes and strong hands; and at the center, the Executive with the equilibrium on his head. This creates a parallel to the Brazilian system of government, with its separation of power. The horizontal field of the people is at the base of the Republic triangulation.

Fig. 4.14 First Crop Mapping - Dissecting

4.2.6 Second Crop Mapping - Empathizing

The Formation of Power

The Underlying Structure

The closer and more detailed observation during mapping

Analysis:

the second crop of the painting.

Besides the open-minded and skilled Legislative, the

Fig. 4.18 Ideogram.

Fig. 4.19 Ideogram.

blinded yet strong Judiciary, the equilibrium of the Executive, another figure is revealed at the center. The central figure may be interpreted as the Brazilian Nation.

Fig. 4.17 Second Crop Mapping - Empathizing

4.2.7 Second Crop Mapping - Dissecting

Brasilia

Fig. 4.21 Mapping of Brazil.

Analysis: The equilateral triangle refers to the Republic; the horizontal field to the democracy; the main axis to equilibrium; the union and equality to harmony; and as the result is the three powers forming One Nation.

Fig. 4.20 Second Crop Mapping - Dissecting

4.2.8 Diagram - Descriptive Organization

The Alignment of Power

The Conquest

Fig. 4.23 Ideogram.

Fig. 4.24 Ideogram.

This diagram summarizes the ideas embedded in Di

The alignment of the eyes of the horses is interpreted

Cavalcanti’s masterpiece. It can also be related to Lucio

as the three buildings facing each other, meaning

Costa’s Plano Piloto.

transparency and cohesion between them. The horizontal axis refers to the crossing axis in which the

The main axis as the Monumental axis that meets the Three

city was developed.

Powers Plaza where the three monumental buildings that

Fig. 4.22 Diagram - Descriptive Organization

represent the three powers of the Republic are housed:

Then, the embedded ideas and the underlying system

the Palácio do Planalto (Executive), the Federal Supreme

described in the resulting diagram will become something

Court (Judiciary) and the National Congress (Legislative).

else.

The Body

Architecture, in all its different scales, is an integral part

Historically, the human body is the object of man’s own

of men’s existence, either collectively or individually,

desire in search of beauty. According to Alberto Perez-

whether in the chair he sits on, the house he lives in, or

Gomez, “Eros and imagination are inextricably linked,

the city where he relates to others. Our bodies, being part

this is more than physiological fact. Our love of beauty is

of the world, connect us with it. Perez-Gomez, following

our desire to be whole and to be holy. Beauty transcends

Maurice Merleau-Ponty, says that in fact we are our mortal

the contradiction of necessity and superfluity. It is both,

bodies, which are one flesh with the world.3

necessity for reproduction and crucial for our spiritual well being, the designing characteristic of our humanity.”5

“We are a body in a universe of bodies. All the space that surrounds us is composed of an uncountable diversity of bodies - mobile, immobile, rational, irrational, static, dynamic, with different materialities, shapes, colors, and textures. Within this versatility, Human Being presents one of the most complex facets. The individual, composed of mind and body, interior and exterior, presents himself as a complete being, able to interact with reality and with his fellow men. The body gives us the ability to move and allows us to absorb multiple experiential dimensions. Architecture is confronted with several issues related to human existence, especially in space and time, systematically aiming to express and influence the way Man relates to everything.”4

Artists of all times represented the human body and many of these works of art were adopted as the standard of perfection. The body, as is a reference of measurement helps us to understand the magnitudes of others, and is the receptacle for the individual sensations and experiences. Juhani Pallasmaa suggests that the body is at the center of all our experiences with and in the world.6 This proposition invites an important discussion about how we relate to other beings and to the world and may have immediate implications for the process of architectural design. In this research, the human body is approached as a scale and program.

Alberto Perez-Gomez, Built Upon Love. Architetural longing after ethics and aesthetics. Massachusetts: Mit Press, 2006. 3

Maria Eduarda Ramos Cardoso, The Space of the Body. Master’s Dissertation presented to the Faculty of Architecture of the University of Porto in Architecture. Porto, 2016. 11. <https://core.ac.uk/ 4

Alberto Perez-Gomez. Seminar: Built Upon Love. Hosted at: Eric Parry Architects. YouTube. Video file. London. May 24, 2016. <https:// www.youtube.com/watch?v=-q9Y0ialBrE> 5

Juhani Pallasmaa. The Eyes of the Skin. Architecture and the Senses. (London: John Wiley & Sons, 1996), 40.

download/pdf/143401204.pdf>

Fig. 4.25 Mapping of David

The Body as Scale 4.3 David

To dialogue with the diagram arising from the painting by

David is represented totally naked, fundamental for

Di Cavalcanti, another metaphor was added using the

Michelangelo’s classicism, so that the body could be

body as scale.

properly appreciated as a masterpiece of God. It is a reference of perfection and also expresses the greatness

David by Michelangelo (1501 - 1504).

or appreciation of a man facing Herculean challenge and can thus be compared to the candangos.

The sculpture refers to the biblical story of David and Goliath – a boy that defeated the giant, helping the

The statue conveys an intense psychological dimension,

Israelites win the battle against the Philistines.7

tension and apprehension, yet at the same time boldness and challenge.

David, a courageous young man with a slingshot stands up to Goliath with his javelin and armor. This recalls the

The white marble sculpture stands in contrapposto, so it

position of the colony vis à vis the conqueror, or Brazil

transfers its weight to just one leg while the other rests

being exploited by the Portuguese monarchy over

, signalling instability and fragility, yet at the same time

centuries.

equilibrium. It can be compared to the equilibrium so vital to the Republic.

Various works are described in this paper using this system of conceptual diagramming. In various ways, they describe this dynamic of exploitation and oppression, hopelessness and optimism and the desire to establish a lasting democracy, even a utopia of an egalitarian society.

I Samuel. 17:41-52 NKJV

Fig. 4.26 David. Michelangelo, 1501-04.

The Diagram vs. The Body as Scale 4.4 Dialogue and Negotiation

David’s body parts are examined in the following, divided and placed on the diagram to better visualize the relationship of scale, metaphors and meanings. The focal point, the hips, are placed on the intersection between power’s main axis (vertical) and people’s axis (horizontal) as support. The active arm is placed in the center of the power , signifying the Executive power. The resting arm which balances the body while the other arm acts rests on the equilibrium element of the diagram. The head is resting on Legislative power, where ideas rise, indicating an open mind. It is also seeking equilibrium. The active leg on Justice is supported on the horizontal field of the people. The resting leg is placed on the Legislative.

Fig. 4.27 Diagram - Dialogue and Negotiation

The Diagram vs. The Body as Scale 4.5 Cheios e Vazios

From the dialogue and negotiation of the black and white map/diagram with the body as scale, there is the exclusion of the non bonded regions of the diagram. “Cheios e Vazios” or “Filled and Voids”.

Fig. 4.28 Diagram - “Cheios e Vazios”

The Diagram vs. The Body as Scale 4.6 Explosion and Bond

From the “Cheios e Vazios,” there is the explosion of the diagram into parts bonded on the body parts.

Fig. 4.29 Diagram - Explosion and Bond

The Body as Program 4.7 David as Adam - Humanity - The Confident Position

Fig. 4.31 The Creation of Adam. Michelangelo, 1512

In order to explore the body as program, David is

“And the Lord God formed man of the dust of the ground,

investigated as a human being in different positions,

and breathed into his nostrils the breath of life; and man

borrowing the program of bodies in other artifacts.

became a living soul.” (Genesis 2:7 KJV).

In this first case, the body position of Adam is adopted

David as Adam meaning humanity.

from the Creation of Adam, by Michelangelo.

Man is both an image and likeness of God, symbolizing the parental love. Adam’s position suggests control and

In the book of Genesis, God gives life to the first man,

confidence. There is asymmetry and equilibrium.

Adam. This is the Confident position.

Fig. 4.30 Mapping of David as Adam

The Body as Scale and Program 4.7 .1 Chairness and Bodyness

Reorganization of the Diagram Bonded to the Body Parts Confident Sitting Chairness Bodyness

Dialoguing with the body in the proposed program, the parts of the diagram are grouped into a new configuration that considers metaphors as layers of idea construction, or an underlying system.

Fig. 4.32 Reorganization of the Diagram - Presence of the Body.

The Body as Scale and Program 4.7.2 The Presence and the Absence of the Physical Body

The Body as Both Scale & Program The Absence of the Physical Body The Presence of the Trace of the Body

As Chairness, there are four components – seat, back, one arm, and leg - suggesting asymmetry. As Bodyness, the confident position – the glutes (as a focal point – main element), the arm (as support), the back (as balance), and the leg. The chairness and the bodyness dialogue with the embedded idea of equilibrium.

Fig. 4.33 Reorganization of the Diagram - Absence of the Body.

Chairness to be named The Conquest of Brasilia 4.7.3 The Negotiation between the Presence and the Absence of the Physical Body

The Body as Both Scale & Program The Negotiation between the Presence and the Absence of the Physical Body

The shape that houses the body in this position, with one arm balancing the body suggests asymmetry.

Fig. 4.34 Sketch of the Negotiation between Body and Diagram

Fig. 4.36 Volumetric Nature of the Diagram

The Negotiation between the Presence and the Absence of the Physical Body

The dialogue between the body and main elements of the resulting diagram relates the supporting arm to equilibrium form. David’s head appears in the place of the horse’s head in the middle.

Fig. 4.35 Sketch of the Negotiation between Body and Diagram

101

The Negotiation between the Presence and the Absence of the Physical Body

The idea is constructed from the negotiation between the presence and the absence of the physical body.

Fig. 4.37 Sketch of the Idea Construction

103

Chairness to be named The Conquest of Brasilia 4.7.4 The Shape that Holds the Body

Fig. 4.39 Sewing Pattern

The Construction of the Idea Materiality

Aluminum net was chosen for being a cartesian element able to be molded to create curves – dialoguing with the pattern in the painting in which lines merge into curves and the modern architecture of Oscar Niemeyer.

Fig. 4.38 Model of the shape that holds the body

105

Chairness to be named The Conquest of Brasilia 4.7.5 The Construction of the Idea and Materiality

Fig. 4.40 Model of the Idea - Lounge Chair in Tapestry

Fig. 4.41 Model of the Idea - Lounge Chair in Tapestry - Front

Fig. 4.43 Model of the Idea - Lounge Chair in Tapestry - Right Side

Fig. 4.42 Model of the Idea - Lounge Chair in Tapestry - Left Side

Fig. 4.44 Model of the Idea - Lounge Chair in Tapestry - Back

A Portuguese tapestry technique called Arraiolo inspired

Reflecting the values in the painting – one side lighter,

the finishing of the shape, recalling Brazilians who still

colorful, and with more contrast than the other darker,

behave as a colony, only this time, exploited by those

colorless, and with less contrast - finishing in tapestry

whom they have elected to power. The infinite quantity

has a gradient from one side to the other, serving to

of wool loops recalls the people, or candangos, in the

emphasize the idea of asymmetry.

horizontal axis or base of the Republic.

107

The Body as Program 4.8 David as Christ - Divinity - The Hopeless Position

Fig. 4.46 Michelangelo. Pietà,1498-1500.

The Pietà represents the divine in human form.

The faithfulness of the representation of the dead body of

Christ was murdered by His people. The same happened

Christ relaxed muscles, skin, and folds of Mary’s clothing

to Brazil: although the country is now a democracy, it is

show the humanity of Christ and Mary in this sculpture.

ridden with violence, crime and poverty due to systemic

The pyramidal scheme in the Pietà can be related to the

corruption installed in all spheres of Brazilian government

triangular scheme of the central figures in Di Cavalcanti’s

In both instances, there is the wait for the resurrection.

painting.

There is pain and resignation, total surrender and motherly love. It balances the ideal of the Renaissance Era with classical beauty evident in naturalism. Fig. 4.45 Mapping of Pietà - David as Christ

This is the Hopeless position. 109

The Body as Program 4.8.1 David as Mary - Humanity and Divinity - The Resigned Structure

Fig. 4.48 Sketch of Mary’s Hands.

The drawing on the left represents Mary holding the hopeless body of her Son. She is strong and also delicate. Mary humbly puts the body of Christ in evidence. There is suffering and resignation. With one hand, She holds the Son and deeply feels His wounds – as if she had the stigmata of Her Son - and with the other, resigned and faithful, she hands Him over to the Father. This depicts the duality between the divinity and humanity.

Fig. 4.47 Mapping and Dissecting Pietà

111

The Body as Scale and Program 4.8 .2 Chairness and Bodyness

Reorganization of the Diagram Bonded to Mary’s Body Parts Hopeless Position Chairness Bodyness

The diagram is reorganized bonded to the body parts. The Hopeless position is a passive position: the act of sitting depends on the support of another. In the Resigned structure, the hopeless body is dependent on Mary’s lap and one arm to balance the body.

Fig. 4.49 Reorganization of the Diagram - Presence of the Body.

113

The Body as Scale and Program 4.8.3 The Presence and the Absence of the Physical Body

The Body as Both Scale & Program The Absence of the Physical Body The Presence of the Trace of the Body

There are three components to Chairness – seat, back, and legs. As Bodyness, the hopeless position depends on the host of the dead body – neck, back, hips, and legs. This diagram reflects the current political situation in Brasilia and the idea of Republic (triangulation), its degradation and the people waiting for resurrection.

Fig. 4.50 Reorganization of the Diagram - Absence of the Body.

115

Chairness to be named The Conquest of Brasilia 4.8.4 The Relationship between that which Holds the Body and that which Holds the Chair

Fig. 4.52 Sketch Resigned Structure

The Body as Both Scale & Program The Relationship between that which Holds the Body and that which Holds the Chair

From the resulting diagram and observing the parallelism between the divinity and the humanity, the “Y” shape that recalls Mary’s hand balancing the body, and its relation with the body, the idea of the structure is created – the tectonic recalls the bones of Mary’s hand. The structure holds and also elevates/exalts the shape that houses the body. Here are two people, independent parts, relating to each other as they are one: 1 - that which holds the body; Fig. 4.51 Sketch Resigned Structure

2 - that which holds the chair.

117

Chairness to be named The Conquest of Brasilia 4.8.5 The Resigned Structure

Fig. 4.54 Sketch of the Structure that Holds

In the drawings on the left, the study of the assembly of the tectonic elements can be observed - the conception of the structure that holds the shape that holds the body.

Fig. 4.53 Sketch of the Structure Assembly

119

Chairness to be named The Conquest of Brasilia 4.8.6 The Construction of the Idea and Materiality

Fig. 4.55 Model of the Idea - Lounge Chair Wire

Fig. 4.56 Model of the Idea - Lounge Chair in Wire- Front

Fig. 4.58 Model of the Idea - Lounge Chair in Wire - Right Side

Fig. 4.57 Model of the Idea - Lounge Chair in Wire - Left Side

Fig. 4.59 Model of the Idea - Lounge Chair in Wire - Back

For the shape that holds, the softness of the leather is

intense bond that makes them one, reflecting Mary’s deep

used to relate to the naturalism of the skin depicted by

empathy with Christ.

Michelangelo’s sculpture and to amplify the experience

For the structure, the strength and slenderness of the

of the senses with its natural smell. This leather element

stainless steel is used to bring the desired delicacy. The

is marked by the metallic screen that compresses it

reflexive effect of the polished steel almost dematerializes

and makes it appear through the gaps, establishing an

it, dialoguing with the role of Mary.

121

Chairness to be named The Conquest of Brasilia 4.8.7 The Independence of the Supporting Chair

The Body as Both Scale & Program The Independence of the Supporting Chair The Celebration of the Perfection of the Imperfection The Independence of the supporting chair. Inspired by the arms of Mary, which embrace the Son on one side and surrender to the Lord on the other, a complementary soft cushion has been created

which

is slightly asymmetrical, celebrating the perfection of imperfection. The cushion is attached to the chair with magnets and stands by means of a pendulum within the structure, demonstrating the parallel of humanity and divinity in equilibrium.

Fig. 4.60 Sketch of the Independent Low Chair

123

Chairness to be named The Conquest of Brasilia 4.8.8 The Construction of the Idea and Materiality

Fig. 4.61 Model of the Idea - Low Chair Wire

Fig. 4.62 Model of the Idea - Low Chair in Wire- Front

Fig. 4.64 Model of the Idea - Low Chair in Wire - Right Side

Fig. 4.63 Model of the Idea - Low Chair in Wire - Left Side

Fig. 4.65 Model of the Idea - Low Chair in Wire - Back

The new independent shape acquires transparency

The asymmetrical soft cushion in suede that holds the

through the use of wire, allowing light to pass through

chair and also the body, recalls the motherhood of Mary

it, and symbolizes the ethereal body, celebrating the

and celebrates the perfection of the imperfection.

divinity of Mary.

The pendulum in wood recalls her humanity.

125

Chairness to be named The Conquest of Brasilia 4.8.9 The Construction of the Idea and Materiality

Fig. 4.67 Model of the Idea - Low Chair in Leather- Front

Fig. 4.69 Model of the Idea - Low Chair in Leather - Right Side

Fig. 4.68 Model of the Idea - Low Chair in Leather - Left Side

Fig. 4.70 Model of the Idea - Low Chair in Leather - Back

The new independent shape finished in natural leather,

The asymmetrical soft cushion in velvet gently cradles

reminiscent of our own flesh, celebrates humanity.

the body while the pendulum in cast iron recollects the humility and strength of Mary.

Fig. 4.66 Model of the Idea - Low Chair Leather

127

Chairness to be named The Conquest of Brasilia 4.8.10 The Body as Scale and Program - The Faithful Position

Fig. 4.72 Mapping of Mary and Christ

In the morphology of the body of Christ in Pietà there is a

From the dialogue and negotiation between the

curvature formed by the torso, suggesting the division or

morphology (mapping) of Christ and the “mother

articulation between the thorax and the hips. The same

shape,” the shape of a chair arose, meaning the union

gesture is found in the movement of Mary’s garments.

of Humanity and Divinity – Unity – suggesting symmetry and celebrating the Perfection.

Fig. 4.71 Sketch of the Ethereal Armchair

129

Chairness to be named The Conquest of Brasilia 4.8.11 The Construction of the Idea and Materiality

Fig. 4.73 Model of the Idea - Armchair in Wire - Right Side

Fig. 4.74 Model of the Idea - Armchair in Wire - Front

Fig. 4.76 Model of the Idea - Armchair in Wire - Left Side

Fig. 4.75 Model of the Idea - Armchair in Wire - Left Side

Fig. 4.77 Model of the Idea - Armchair in Wire - Back

The faithful position has a more vertical orientation,

The option of the shape in wire mesh gives transparency

suggesting a superior connection and the divinity of Christ

to the chair, referencing the ethereal body.

and Mary.

The symmetry of the shape celebrates perfection.

131

Chairness to be named The Conquest of Brasilia 4.8.12 The Construction of the Idea and Materiality

Fig. 4.79 Model of the Idea - Armchair in Leather - Front

Fig. 4.81 Model of the Idea - Armchair in Leather - Left Side

Fig. 4.80 Model of the Idea - Armchair in Leather- Right Side

Fig. 4.82 Model of the Idea - Armchair in Leather- Back

The option of the shape of the chair finished in soft

smell is the most persistent in memory,8 so the smell of

leather, reminiscent of the touch of skin, symbolizes the

the natural leather activates the senses,improving the

humanity of Christ. According to Juahani Pallasmaa, the

multi sensory experience.

Juhani Pallasmaa, The Eyes of Skin. Architecture and the Senses. (London: John Wiley & Sons, 1996), 55. 8

Fig. 4.78 Model of the Idea - Armchair in Leather - Right Side

133

Chairness to be named The Conquest of Brasilia 4.8.13 The Body as Scale and Program - The Faithful Position

Fig. 4.84 Mapping of the Hopeless Body of Christ

Fig. 4.83 Mapping of the Hopeless Cushion

From the mapping of the dead body, a cushion was

“Behold! The Lamb of God who takes away the sin of the

created symbolizing the hopeless position of Christ.

world!” (John 1:29 NKJV).

135

Chairness to be named The Conquest of Brasilia 4.8.14 The Construction of the Idea and Materiality

Fig. 4.86 Model of the Idea - Armchair Cushion - Front

Fig. 4.88 Model of the Idea - Armchair Cushion- Left Side

Fig. 4.87 Model of the Idea - Armchair Cushion Attached - Back

Fig. 4.89 Model of the Idea - Armchair Cushion - Back

For the materiality, the wool with a bouclet pattern of an infinitive number of loops was chosen, meaning Christ who died both for our multitude of sins and for the salvation of all His sons.

Fig. 4.85 Model of the Idea - Armchair in Leather - Cushion - Right Side

137

The Body as Program 4.9 David as Venus - Femininity and Masculinity - The Laying Position

Fig. 4.91 Alexandre Cabanel. The Birth of Venus, 1863.

David as Venus brings up the femininity of David, or feminine perfection. The sensuality of the body reminiscent of Niemeyer’s curves. There is ambiguity as her eyes seem to be closed (sleeping), yet they are opened. Venus represents Antiquity and Modernity . David as Venus means equality dialoguing with the idea of Democracy. This program is the Laying position.

Fig. 4.90 Mapping of David as Venus

139

The Body as Scale and Program 4.9.1 David as Venus - Femininity and Masculinity

Reorganization of the Diagram Bonded to the Body Parts Laying Position Chairness Bodyness

The reorganization of the diagram bonded to the body parts. The Laying Position can be sleeping or awake, but it is not an active position.

Fig. 4.92 Reorganization of the Diagram - Presence of the Body.

141

The Body as Scale and Program 4.9.2 The Presence and the Absence of the Physical Body

The Body as Both Scale & Program The Absence of the Physical Body The Presence of the Trace of the Body

Chairness is comprised of two components - a long seat and legs. As for Bodyness, the laying position depends on the support of the whole body. It dialogues with the embedded idea of Equality.

Fig. 4.93 Reorganization of the Diagram - Absence of the Body.

143

The Horizontal Object 4.9.3 The Chairness

Fig. 4.95 Diagramming and Mapping the Horizontal Object

The Body as Both Scale & Program The Horizontal Orientation From the negotiation between the diagram organization and the morphology of the painting, a stereotomic object is created with curves indicating sensuality. The horizontal orientation of the object suggests equality and dialogues with the idea of Democracy. The object is composed of three independent forms of different heights following the outline of the body of Venus. The multiple possibilities of the composition of the parts and their various uses signifies ambiguity.

Fig. 4.94 Diagramming and Mapping the Horizontal Object

145

The Horizontal Object 4.9.4 The Construction of the Idea and Materiality

Fig. 4.97 Model of the Idea - The Horizontal Object

Fig. 4.99 Model of the Idea - The Horizontal Object

Fig. 4.98 Model of the Idea - The Horizontal Object

Fig. 4.100 Model of the Idea - The Horizontal Object

Mapping and diagraming David as Venus results in three stereotomic components carved in wood with multiple compositions and uses.

Fig. 4.96 Model of the Idea - The Horizontal Object

147

The Object 4.10 The Enlightenment

Fig. 4.102 Diagram - Descriptive Organization

The idea of the object derived from the spatialization of the main axis of the first diagram, which starts with the enlightenment, passes through the equilibrium of the three powers, until finally reaching the horizontal field of the people, results in the creation of the lamp. Fig. 4.101 Diagramming and Mapping - The Object

149

The Object 4.10.1 The Construction of the Idea and Materiality

Fig. 4.104 Model of the Idea - The Object

A lamp is born, irradiating a soft light throughout its profile path, until reaching the focal light in its end, namely the man sitting on the chair.

Fig. 4.103 Model of the Idea - The Object

151

The Composition 4.11 The Exploration of the Ideas in Real Environment

“Always design a thing by considering it in its next larger context – a chair in a room, a room in a house, a house Fig. 4.105 Author’s work in partnership with Cesar Coppola in composition with the Lounge Chair Tapestry and the Horizontal Object

in an environment, an environment in a city plan.” 9 9 Florence Knoll aput Eliel Saarinen, A Chronology of Florence Knoll Bassett from 1932 Onward. A Finding Aid to the Florence Knoll Bassett Papers, 1932-2000, in the Archives of American Art. Smithsonian Online Virtual Archives. Smithsonian Institution. 6 <https://sova.si.edu/record/ AAA.knolflor?s=0&n=10&t=C&q=Detroit+%28Mich.%29&i=9>

153

Fig. 4.106 Author’s work in partnership with Cesar Coppola in composition with the Low Chair in Leather

Fig. 4.107 Author’s work in partnership with Cesar Coppola in composition with the Armchair in Leather with Cushion

155

Fig. 4.108 Author’s work in partnership with Cesar Coppola in composition with the Armchair Wire

Fig. 4.109 Oscar Niemeyer. Palacio do Itamarati, Brasilia, 1970. In assembly with ideas stemming from this research.

157

And finally, the Conquest of Brasilia. The longing for independence and democracy after years of Portuguese rule and exploitation/oppression, followed by the poor exercise of public power and systematized corruption in the Republic From our aspirations for the elevation and exaltation of the country built by the people for the people in equilibrium, surrounded by the principle of equality that sustains democracy and the Republic, and in the incessant search for enlightenment, this work recognizes the importance of Brasilia and the Three Powers Plaza in its expression of value and meaning as conceived by Lucio Costa and Oscar Niemeyer and portrayed by Di Cavalcanti, in the desire - perhaps utopian - for a more just society for those to come.

Fig. 4.110 Oscar Niemeyer. National Congress, Brasilia, 1960. In assembly with ideas stemming from this research.

159

Conclusion

Fig. 5.1 Sketch of Mary’s hand.

Conclusion

Making something physical, built, is not all there is to

physical and the metaphysical, of intention and intuition,

other times in modern history, this “power” was used as

architecture, for there is no architecture without an

as a cognitive and visual instrument of infinite production.

a means of dominating the people, as could clearly be

The next steps for this research project will be to apply

element of poetry.

This allows us to understand the underlying system of

seen in Nazi architecture in Germany. But in the case of

other scales and programs, adding new symbolisms to

architecture and use this methodology in the making of all

Brasilia, driven by a nationalist and humanitarian desire,

this conceptual diagram, opening a lifelong investigation

scales of architecture and design.

these candangos advocated strongly for what would

of the manifestations of its essence, letting it inspire new

happen half a century later, creating an architecture that

generations and offering them another way of conveying our third meanings.

This is essentially in the relationship of Eros and Philia as described by Perez-Gomez: the love of beauty and meaning that deeply touches our senses – poetics, and

If architecture has meanings in its essence and these

in its essence conveyed equality and justice and was

the love of others that makes us responsible for one

meanings can be transmitted and exert influence on man,

steeped in the ideals of democracy.

another, allowing us to coexist - ethics.

this is an incredibly strong “power.”

May each object of my design carry meaning as far as it This democratic impulse became manifest when the

will reach, and convey the hope for a new utopia, in which

In the multidisciplinarity of architecture, the idea is a

Such “power” was exercised by the architecture of

Brazilian people took over the place of the Three Powers

economic, and political justice prevail, not only in Brazil,

cornerstone and that is what makes architecture a field in

Brasilia, conceived under the nationalist and egalitarian

Plaza and the National Congress, calling for an end to

but the world over.

which computer technology is unlikely to have complete

ideals yearned for by Lucio Costa and Niemeyer, shared

corruption and a government for the people and by the

autonomy.

and portrayed by Di Cavalcanti - all candangos (see Fig.

people, making their voices heard.

May architecture speak for itself!

This is the essence, and this is the example that justifies

Let us be more David or more Candango!

4.1, 62) involved in the construction of the new capital. The methodology proposed by Maelee T. Foster adopted in this Master’s Research Project demonstrates the

Brasilia was an audacious project, commissioned by the

the choice of Di Cavalcanti’s painting as inspiration, and

potential of conceptual diagramming, or parti diagram,

highest level of government to represent its institutions,

which I reaffirm in the designs conceived during this

and its unique ability to mediate the convergence of the

but its representativeness goes far beyond that. At

research project.

163

Fig. 5.2 Protest at the National Congress of Brazil, June 17, 2013.

165

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NIEMEYER, Oscar. Documentary: “A Vida é um Sopro,” directed by Fabiano Macie and Sacha. Rio de Janeiro: Santa Clara Comunicação, 2007. PALLASMAA, Juhani. The Eyes of the Skin. Architecture and the Senses. London: John Wiley & Sons, 1996. PÉREZ-GOMES, Alberto. Built upon Love. Architectural longing after ethics and aesthetics. Massachusetts: MIT Press, 2006. PEREZ-GOMEZ, Alberto. Seminar: Built Upon Love. Hosted at: Eric Parry Architects. YouTube. Video file. London. May 24, 2016. <https://www. youtube.com/watch?v=-q9Y0ialBrE>

STRUNK, Oliver. Source Readings in Music History: The Romantic Era. New York: W.W. Norton & Co. 1965. TUFTE, Edward R. Envisioning Information: Escaping Flatland, Micro/ Macro Readings, Layering and Separation, Small Multiples, Color and Information, Narratives of Space and Time. Cheshire, CT: Graphics Press, 1990. UNDERWOOD, David. Oscar Niemeyer e o modernismo de formas livres no Brasil. São Paulo: Cosac & Naify. São Paulo, 2002.

PLATO. Theory of Forms. 358 B.C. Platonic Theories. Nov 13, 2014. <https:// platonictheories.wordpress.com/2014/11/13/theory-of-forms/> SAKAMOTO, Cleusa. Gestalt and Perception Theories. (São Paulo: Faculdade Paulus de Tecnologia e Comunicação. FAPCOM. Youtube. Video file. Nov 7, 2016. <https://www.youtube.com/watch?v=em37yZaOeAU> WEBER, Nicholas Fox. Josef Albers, Sublime Optics. Josef and Anni Albers

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Websites

References Figures

The Art Story. Definition of Gesamtkunstwerk. The Art Story. Ideas/ Gesamtkunstwerk/History. <https://www.theartstory.org/definition/ gesamtkunstwerk/history-and-concepts/>

All images not cited here are attributed to the author.

Candango definition from Paraná State Education Secretariat website. Source: http://www.historia.seed.pr.gov.br/modules/conteudo/conteudo. php?conteudo=231

Biblical References I Corinthians 13:2 NKJV. I Samuel 17:41-52 NKJV. Genesis 2:7 NKJV. John 1:29 NKJV.

Chapter 1 Fig. 1.1 Sketch of Mary’s faithful hand Fig. 1.2 Mapping of The Creation of Adam Fig. 1.3 Vilanova Artigas. Mulheres <http://www.g-arquitetura.com.br/odesenho.html> Fig. 1.4 Massimiliano Fuksas. Diagramo f Congress Center Italy, Rome, 2005 BAHAMÓN, Alejandro. Sketch Plan Build. World Class Architects Show How It’s Done. (New York: Collins Design, 2005), 350. Fig. 1.5 Massimiliano Fuksas. Model of the Congress Center Italy, Rome, 2005. BAHAMÓN, Alejandro. Sketch Plan Build. World Class Architects Show How It’s Done. (New York: Collins Design, 2005), 351.

Chapter 02 Fig. 2.1- Vilanova Artigas. Mão <http://www.g-arquitetura.com.br/odesenho.html> Fig. 2.2 Stonehenge: prehistoric monument. England, 3000 BC to 2000 BC. Photograph: David Goddard/Getty Images <https://www.history.com/topics/britishhistory/stonehenge> Fig. 2.3 Paul Klee. Pedagogical Sketchbook. 1925. Fig. 2.4 From Albers’ Theory 1+1=3 or more Fig. 2.5 Josef Albers. Structural Constellation, 1958. Artnet. <http://www.artnet.com/artists/josef-albers/structural-constellationtOiMFNakNK50g43pi-noEQ2> Fig. 2.6 Josef Albers. Homage to the Square: R-NW IV, 1966.

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National Galleries Scotland. <https://www.nationalgalleries.org/art-and-artists/384/ homage-square-r-nw-iv> Fig.2.7 Kandinsky. A Leap of the Dancer Palucca and A Graphic Diagram of the Leap. Bauhaus Bookshelf. <https://www.bauhaus-bookshelf.org/bauhaus-book-9-vassilykandinsky-point-and-line-to-plane_pdf.html> Fig. 2.8 M. Richmond, advanced student work. In Maelee T. Foster. A Comprehensive Description of a Diagram Conceptual Diagram, 1. Fig. 2.9 J.T. Kerr, design one student. In Maelee T. Foster. A Comprehensive Description of a Diagram. The diagrammatic transformation, 5. Chapter 03 Fig. 3.1 Oscar Niemeyer. Sketch. Oscar Niemeyer Foundation. <http://www.niemeyer.org.br/desenho/desenhos> Fig. 3.2 Joseph Albers. After Nightfall, 1948 – 53 Artsy. <https://www.artsy.net/artwork/josef-albers-after-nightfall> Fig. 3.3 Carlo Scarpa. “A Fili” vase, blown glass, circa 1942. Phillips. <https://www.phillips.com/detail/carlo-scarpa/NY050118/2> Fig. 3.4 Carlo Scarpa. Luo Table Samo, 1970. <DiMore Gallery. http://www.dimoregallery.com/projects/luotable-samo-by-carloscarpa/> Fig. 3.5 Carlo Scarpa.The Brion Cemetery, 1968 - 78. The Future Perfect. <https://www.thefutureperfect.com/present_tense/articles/carloscarpa> Fig. 3.6 Carlo Scarpa. Diagram. Urbanismo. <https://www.urbanismo.com/arquitecturayurbanismo/croquismaestros-el-trazo-artesanal-de-carlo-scarpa-y-una-deuda-impostergable/>

Fig. 3.7 Charles-Edouard Jeanneret. Nature Morte Verticale, Oil on canvas. Kunstmuseum Basel, Switzerland, 1922 CCSA <http://criticalarchitecture.org/workshop/when-architecture-meets-art-lecorbusier-and-the-avant-garde-collaborations/> Fig. 3.8 Le Corbusier. Sketch of Villa La Roche/Jeanneret, Paris, 1923 - 25. CCSA <http://criticalarchitecture.org/workshop/when-architecture-meets-art-lecorbusier-and-the-avant-garde-collaborations/> Fig. 3.9 Le Corbusier. Villa La Roche, 1925. photo Olivier Martin-Gambier <https://www.thewoodhouseny.com/journal/2017/9/1/ maison-la-roche> Fig. 3.10 Richard Meier. Lectern diagram, 1972 Richard Meier & Partners archive <https://www.knoll.com/knollnewsdetail/therichard-meier-collection> Fig. 3.11 Richard Meier. Meier Collection for Knoll. <https://www.knoll.com/knollnewsdetail/the-richard-meier-collection> Fig. 3.12 Lucio Costa. Parti Diagram for Plano Piloto, Brasilia,1956. <https://agenciabrasilia.df.gov.br/2019/04/25/147148/> Fig. 3.13 Lucio Costa. Aerial view of Brasilia. https://www.vivadecora.com.br/pro/arquitetura/croquis-de-brasilia/ Fig. 3.14 Oscar Niemeyer. Parti Diagram for The Museum of Contemporary Art, Rio de Janeiro - Brazil, 1996. DesignKultur <https://designkultur.wordpress.com/2010/09/16/starchitecture-jewerly%C2%BBoscars-curves-oscars-jewels%C2%AB-the-oscar-niemeyer-collection-by-hstern/screen-shot-2010-07-29-at-15-45-10-2/> Fig. 3.15 Oscar Niemeyer. The Museum of Contemporary Art, Niterói - Brazil, 1996.

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Photograph by Leonardo Simplício <https://www.rio-magazine.com/voce-conhece-omuseu-de-arte-contemporanea-de-niteroi-toda-quarta-feira-a-entrada-e-gratuita-2/ nx-14267/> Fig. 3.16 Oscar Niemeyer and Anna Maria Niemeyer. Oscar Niemeyer’s Sketch for Alta Lounge Chair, 1971. Oscar Niemeyer Foundation <http://fundacaooscarniemeyer.com.br/ biografia/1965-1975> Fig. 3.17 Oscar Niemeyer and Anna Maria Niemeyer. Alta Lounge Chair, 1971. Source: www.eteldesign.com.br Fig. 3.18 Perception of Space Chapter 4 Fig. 4.1 Vilanova Artigas. Bailarina <http://www.g-arquitetura.com.br/odesenho.html> Fig. 4.2 Di Cavalcanti. Unnamed, oil on canvas,1960. <https://www2.camara.leg.br/a-camara/visiteacamara/cultura-na-camara/museu/ acervo/obras-de-arte/di-cavalcanti-1/di-cavalcanti> Fig. 4.3 Tarsila do Amaral. O Batizado de Macunaíma. 1956. <https://vsco.co/juliapapa/media/5d3f57d2c867e66822c61391> Fig. 4.4 The Three Powers Plaza - Brasilia <https://blogs.uai.com.br/mirante/2018/05/28/transformaram-o-sistema-tripartiteno-brasil-contemporaneo-em-covil/> Fig. 4.5 Overall Mapping - Empathizing Fig. 4.6 Ideogram. - The Challenge of the New Fig. 4.7 Ideogram. The Utopia

Fig. 4.8 Overall Mapping – Dissecting Fig. 4.9 Ideogram. The Main Axis in the Horizontal Field Fig. 4.10 Ideogram. The Axis Between Governor and Governed Fig. 4.11 First Crop Mapping – Empathizing Fig. 4.12 Ideogram. The Equilibrium Fig. 4.13 Ideogram The Three Powers in a Democratic Base Fig. 4.14 First Crop Mapping – Dissecting Fig. 4.15 Ideogram. The Republic and the People Fig. 4.16 Ideogram The Organization Fig. 4.17 Second Crop Mapping – Empathizing Fig. 4.18 Ideogram. The Formation of the Power Fig. 4.19 Ideogram The Underlying Structure Fig. 4.20 Second Crop Mapping – Dissecting Fig. 4.21 Mapping of Brazil Fig. 4.22 Diagram - Descriptive Organization Fig. 4.23 Ideogram. The Alignment of the Power Fig. 4.24 Ideogram The Conquest Fig. 4.25 Sketch David Fig. 4.26 David. Michelangelo, 1501-04. Public Domain Fig. 4.27 Diagram - Dialogue and Negotiation Fig. 4.28 Diagram - “Cheios e Vazios” Fig. 4.29 Diagram - Explosion and Bond Fig. 4.30 Mapping of David as Adam Fig. 4.31 The Creation of Adam. Michelangelo, 1512 Fig. 4.32 Reorganization of the Diagram - Presence of the Body Fig. 4.33 Reorganization of the Diagram - Absence of the Body Fig. 4.34 Sketch of the Negotiation between Body and Diagram Fig. 4.35 Sketch of the Negotiation between Body and Diagram

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Fig. 4.36 Volumetric Inature of the Diagram Fig. 4.37 Sketch of the Idea Construction Fig. 4.38 Model of the shape that holds the body Fig. 4.39 Sewing pattern Fig. 4.40 Model of the Idea - Lounge Chair in Tapestry Fig. 4.41 Model of the Idea - Lounge Chair in Tapestry - Front Fig. 4.42 Model of the Idea - Lounge Chair in Tapestry - Left Side Fig. 4.43 Model of the Idea - Lounge Chair in Tapestry - Right Side Fig. 4.44 Model of the Idea - Lounge Chair in Tapestry - Back Fig. 4.45 Mapping of Pietà - David as Christ Fig. 4.46 Michelangelo. Pietà,1498-1500 <http://www.italianrenaissance.org/michelangelos-pieta/> Fig. 4.47 Mapping and Dissecting Pietà Fig. 4.48 Sketch of Mary’s Hands Fig. 4.49 Reorganization of the Diagram - Presence of the Body Fig. 4.50 Reorganization of the Diagram - Absence of the Body Fig. 4.51 Sketch Resigned Structure Fig. 4.52 Sketch Resigned Structure Fig. 4.53 Sketch of the Structure Assembly Fig. 4.54 Sketch of the Structure that Holds Fig. 4.55 Model of the Idea - Lounge Chair Wire Fig. 4.56 Model of the Idea - Lounge Chair in Wire- Front Fig. 4.57 Model of the Idea - Lounge Chair in Wire - Left Side Fig. 4.58 Model of the Idea - Lounge Chair in Wire - Right Side Fig. 4.59 Model of the Idea - Lounge Chair in Wire - Back Fig. 4.60 Sketch of the Independent Low Chair Fig. 4.61 Model of the Idea - Low Chair Wire Fig. 4.62 Model of the Idea - Low Chair in Wire- Front Fig. 4.63 Model of the Idea - Low Chair in Wire - Left Side

Fig. 4.64 Model of the Idea - Low Chair in Wire - Right Side Fig. 4.65 Model of the Idea - Low Chair in Wire - Back Fig. 4.66 Model of the Idea - Low Chair Leather Fig. 4.67 Model of the Idea - Low Chair in Leather- Front Fig. 4.68 Model of the Idea - Low Chair in Leather - Left Side Fig. 4.69 Model of the Idea - Low Chair in Leather - Right Side Fig. 4.70 Model of the Idea - Low Chair in Leather - Back Fig. 4.71 Sketch of the Ethereal Armchair Fig. 4.72 Mapping of Mary and Christ Fig. 4.73 Model of the Idea - Armchair in Wire - Right Side Fig. 4.74 Model of the Idea - Armchair in Wire - Front Fig. 4.75 Model of the Idea - Armchair in Wire - Left Side Fig. 4.76 Model of the Idea - Armchair in Wire - Left Side Fig. 4.77 Model of the Idea - Armchair in Wire - Back Fig. 4.78 Model of the Idea - Armchair in Leather - Right Side Fig. 4.79 Model of the Idea - Armchair in Leather - Front Fig. 4.80 Model of the Idea - Armchair in Leather- Left Side Fig. 4.81 Model of the Idea - Armchair in Leather - Left Side Fig. 4.82 Model of the Idea - Armchair in Leather- Back Fig. 4.83 Mapping of the Hopeless Cushion Fig. 4.84 Mapping of the Hopeless Body of Christ Fig. 4.85 Model of the Idea - Armchair in Leather - Cushion - Right Side Fig. 4.86 Model of the Idea - Armchair Cushion - Front Fig. 4.87 Model of the Idea - Armchair Cushion Attached - Back Fig. 4.88 Model of the Idea - Armchair Cushion- Left Side Fig. 4.89 Model of the Idea - Armchair Cushion - Back Fig. 4.90 Mapping of David as Venus Fig. 4.91 Alexandre Cabanel. The Birth of Venus, 1863 Public Domain

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Fig. 4.92 Reorganization of the Diagram - Presence of the Body Fig. 4.93 Reorganization of the Diagram - Absence of the Body Fig. 4.94 Diagramming and Mapping the Horizontal Object Fig. 4.95 Diagramming and Mapping the Horizontal Object Fig. 4.96 Model of the Idea - The Horizontal Object Fig. 4.97 Model of the Idea - The Horizontal Object Fig. 4.98 Model of the Idea - The Horizontal Object Fig. 4.99 Model of the Idea - The Horizontal Object Fig. 4.100 Model of the Idea - The Horizontal Object Fig. 4.101 Diagramming and Mapping - The Object Fig. 4.102 Diagram - Descriptive Organization Fig. 4.103 Model of the Idea - The Object Fig. 4.104 Model of the Idea - The Object Fig. 4.105 Author’s work in partnership with Cesar Coppola in composition with the Lounge Chair Tapestry and the Horizontal Object Fig. 4.106 Author’s work in partnership with Cesar Coppola in composition with the Low Chair in Leather Fig. 4.107 Author’s work in partnership with Cesar Coppola in composition with the Armchair in Leather with Cushion Fig. 4.108 Author’s work in partnership with Cesar Coppola in composition with the Armchair Wire Fig. 4.109 Oscar Niemeyer. Palacio do Itamarati, Brasilia, 1970. In assembly with ideas stemming from this research Palacio do Itamarati photograph by Pedro Ladeira. Folha de São Paulo. Fig. 4.110 Oscar Niemeyer. National Congress, Brasilia, 1960. In assembly with ideas stemming from this research Fig. 5.1 Sketch of Mary’s hand Fig. 5.2 Protest at the National Congress of Brazil, June 17, 2013 Photograph by: Valter Campanato for Agência Brasil

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