Architecture, Building and Planning

A presentation on Two Architects
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In our modern society, our cities shine with spectacular infrastructure and buildings. This owes to the Architectural evolution resulting from dedicated works of some famous architects such as Joao Vilanova Artigas and Paulo Mendes da Rocha. Their works have influenced other architectural designs worldwide as both have won various awards in outstanding design. Joao Vilanova Artigas a generation older than Paulo Mendes da Rocha was born in 1915 in Curitiba (Zein, 2008) a time when his country was politically unstable. However, in 1937 he successfully completed his architectural course at Polytechnic University of Sao Paulo and was awarded certificate as engineer architect. His interest in architecture was later implemented when he pioneered the construction of School of Architecture and Planning of Sao Paulo in 1948 when he was still part of the Communist party. Political differences meant that he was not safe and later he sort refuge in Uruguay. However, after peace was instilled in Brazil he returned to teach at his founded university in 1979 where he met Paulo Mendes da Rocha. He later died in 1985 (Cavalcanti, 2003).
Paulo Mendes da Rocha won the Pritzker award in 2006 and was born in 1928 in Vitória. Although he started studying architecture late in his age, his talent was revealed very early in his career as he won various awards and was commissioned to design various buildings (Zein, 2008). He later taught at the School of Architecture and Planning of Sao Paulo following an invitation from Joao Vilanova Artigas. Here the two spearheaded the Brutalist architectural concept and promoted modern infrastructure which later was incorporated nationwide. However, the design was faced with some criticism from various politicians (Autumn, 2009).
Joao Vilanova Artigas believed in originality and expression and thus at his 40’s he starting working on various projects to demonstrate his skills. His creativity is clearly evident in some of his works such as his residence and Faculty of Architecture and Urban Planning (FAU) Centre at University São Paulo. His residence, Reuben de Mendonca House is characterised by extended volumes with well calculated distinctions focussed mainly in the roofline. He was driven by the desire to be spontaneous and creative while building this house. He believed that the city is a house and the house is a city (Cavalcanti, 2003). Unlike the Baeta house build in 1929, he sorted to separate his residence from the urban centre by introducing a different style. He achieved this by placing the garage and a blank wall in the front of the building (Cavalcanti, 2003). The house resembled a traditional roofed house only with extended roof. The walls therefore do not interfere with light since the front garden is open to view as well as distance view. Also, since only private rooms have walls there is increased visibility across the different rooms due to increased light in the house. In order to maximize room size without compromising space, the 4.5 metre height was achieved without internal support but porches parallel to one another (Cavalcanti, 2003). Two of the porches are concrete walls embossed on to the main wall while the third in the middle is the main linked to a central support column in a system of pillars of concrete and steel which was later replaced due to building error (Cavalcanti, 2003). The other distinctive work is the Faculty of Architecture and Urban Planning (FAU). This building exemplifies Artigas desire for freedom as expressed by the volume of space and amount of light travelling throughout the facility. The building bares some of the Brutalist architectural design as evidenced by concrete block walls on the main frame. However, the design is specific to create enough openness. For instance, there is no main entrance door and the building comprises of big windows which gives the building its openness. The pillars supporting the building are concentrated towards the outside walls of the building. Stairs to upper levels are also concentrated to towards the furthest side of the building. The roof design features open flat slanting design that allows maximum light into the building. To the rare of the building the garden is clear in view due to fewer walls. Also, where possible walls are build half way and concrete pillars extended to support the roof. This expresses his emotion towards the need for freedom and openness (Cavalcanti, 2003).
Paulo Mendes da Rocha buildings have won considerable admiration and have influenced architecture and some feature the Brutalism architecture featured in Artigas building designs. The main three building to consider are Ginásio do Clube Atlético Paulistano, his Residence at San Paulo and Museu Brasileiro da Escultura (MUBE) in São Paulo. Firstly, the Ginásio do Clube Atlético Paulistano is one of the best pieces of design ever structured which won him the Grand prix award. The design was to build a spectacular gymnasium that would host various events to a great number of audiences. The, building is set on a circular scope with rising and extending roof just like that of Artigas. The main structure applies Brutalist architectural design characterised by blocky walls of concrete necessary for such a big building. The interior design is almost similar to that of Artigas only that there the stairs are not only at the far side but also in the middle of the building. There are less pillars and the building is sectioned to rooms by walls. However, the rooms are enormous to cater for the audience and the enlarged roof provides enough light into the building (Mendes & Montana 2006).
Secondly, his residence at São Paulo first thing that is noticeable is the blocky walls characteristic of Brutalist architecture design. However, the design is very similar to that of Artigas here as he adopts slanted flattened roof to maximize light. Unlike Artigas, there are concrete pillars in the middle of the building to provide support. The building is also sectioned with walls but has plenty of windows to allow light to travel. Finally, Museu Brasileiro da Escultura (MUBE) is a spectacular museum in São Paulo. Images of the structure from Google reveal some features of the building. The most common noticeable design again is the Blocky walls. The interior however, are specious with less pillars in the middle of the room. The exterior of the building is well visible through big windows along the corridors. However, on this facility the amount of light in the rooms is not mainly from the sun since they are sectioned by walls and the sealing is not transparent at all to light. This is necessary for a museum setting since effects of light varies considerably across the artefacts. It is therefore clear that, although Artigas and Mendes influenced modern infrastructure, their similar life experiences made them have almost the same ideas towards design.

Works cited:
Calvacanti Raulo. “Two houses buy Joao Vilanova Artigas” (2011).
http://www.domusweb.it/en/architecture/2011/01/19/two-houses-by-joao-vilanova-artigas.html (Accessed 02/05/2013)
Mendes, da R. P. A, and Josep M. Montaner. “Mendes Da Rocha. Barcelona”: Gili, 1996. Print.
Zein, Ruth V, and Rocha P. M. da. “Paulo Mendes Da Rocha.” Bomb. (2008): 64-69. Print.

Theodore Dalrymple. “The Architect as Totalitarian” (2009).
http://www.city-journal.org/2009/19_4_otbie-le-corbusier.html (Accessed 02/05/2013)

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