SINGULAR DETAILS: NOTATIONS AND SCRIBBLES

HERMANO BRAGA VIRIATO DE FREITAS FILHO

Ensaio Visual

SINGULARES DETALHES: NOTAÇÕES E GARATUJAS

HERMANO BRAGA VIRIATO DE FREITAS FILHO hermano.freitas@usu.edu.br

Universidade Santa Úrsula, Brazil

SINGULAR DETAILS: NOTATIONS AND SCRIBBLES

Oculum Ensaios, vol. 17, e204691, 2020

Pontifícia Universidade Católica de Campinas, Programa de Pós-Graduação em Urbanismo

Received: 25 July 2019

Accepted: 25 July 2019

DOI: 10.24220/2318-0919v17e2020a4691

ABSTRACT: This essay aims to contribute to the collection of urban images captured on footpaths in different cities, seeking to reflect on the environment architecture, details and temporality as local expressions. In these graphic studies, performed in the form of quick sketches, the proposal is to simply extract the elements considered essential in each observed image. The work follows its development with chronology related to the date of design/construction of the recorded work, except for the image that closes the presentation by its uniqueness. The paper also proposes, following the path opened by architecture professionals, to broaden the discussion about the registration of the built architectural collection through free design.

KEYWORDS: Sketches, Drawing, Graphic record.

RESUMO: O presente ensaio tem como objetivo contribuir para o acervo de imagens urbanas captadas em percursos realizados em diversas cidades, buscando refletir os ambientes, sua arquitetura, seus detalhes e sua temporalidade como expressões locais. Nestes estudos gráficos realizados em forma de croquis rápidos, a proposta visa extrair simplesmente os elementos considerados essenciais em cada imagem observada. O trabalho sequencia seu desenvolvimento com cronologia relativa à data de projeto/construção da obra registrada, exceção feita à imagem que fecha a apresentação, por sua singularidade. O trabalho propõe ainda, trilhando caminho aberto por profissionais de arquitetura, ampliar a discussão sobre o registro do acervo arquitetônico edificado por meio do desenho livre.

PALAVRAS-CHAVE: Croquis, Desenho, Registro gráfico.

“God is in the details” (VAN DER ROHE apudDONIN, 1982, p. 13).

Walking reveals the city; the body and the eyes expose us to details, to affections.

First impact!

The look builds volumes.

These run to shape the ages. At the same time, it is possible to perceive not only the concrete, the palpable, like the pebble that has just been kicked out, but above all its spatial/temporal, terrestrial, galactic, sensitive and essential (re)evolution.

A conjunction, where strong organicity is able to shape the parts, thus revealing the underlying part when perceiving with a closer look the experience of the place.

The place. The things that surround us in the words of a certain Zumthor, in love with “materiais em perfeita harmonia de seus significados compondo suas atmosferas” (ZUMTHOR, 2006, p. 23)¹.

“O sentido, que se deve criar no contexto dos materiais, encontra-se para além de regras de composição” (ZUMTHOR, 2005, p. 11)².

Second impact!

Within the volume discover the particular.

The essence will always be in the spirit of the detail: in every detail.

Humboldt: “O que fala à alma escapa das nossas medições” (HUMBOLDT, 1800, apudWULF, 2017, p. 117)³.

Understanding the cities in their history, their icons and in their places, their territory; the neighborhoods in their blocks, streets and alleys; the blocks, in turn, expressing their nature on account of their built complex and of those who live there and give them life and soul; their buildings, their particular aspects make them full of singularities; and perhaps in each dwelling a set of places, colors, objects, sounds, and their small details, that our senses when open to affections allow us to perceive.

[...] o modo de ser afetado pelo lugar pode ser problematizado e integrado com a utilização tácita dos conhecidos sentidos de que nosso corpo dispõe, mas entendendo de que maneira esses sentidos interagem entre si e reagem aos estímulos que recebemos não só do ambiente externo, mas também de nosso ambiente interno, nossa temperatura, olfato, audição, visão, nossos órgãos, nossas memórias afetivas (FREITAS FILHO; GUIZZO; MARTINS, 2018, p. 62)⁴.

From the windows to the doorways, from the cornices to the portals, from the cracks to the solid surfaces, from the locks, from the latches, from the fascias, wedges and architraves, from the frames and all the singularities, the indissoluble interaction between details, a force that is expressed in each detail and, dialectically, in the whole that unites them.

De outra forma ainda ressoam os apelos na escada. Na ordem das lembranças difíceis, bem além das geometrias do desenho, é preciso reencontrar a tonalidade da luz, depois os doces aromas que ficam nos quartos vazios, pondo um selo aéreo em cada um dos quartos da casa da lembrança (BACHELARD, [1973?], p. 58)⁵.

Someone, perhaps Goethe could say, in one or another direction, all parts are and stand each in the whole.

[...] and, for some parts, of some whole, a few quick records while walking.

[...] a certain passport.

Machupicchu access stamp
Source: Hermano Freitas (2012).

REFERENCES

BACHELARD, G. A poética do espaço. Rio de Janeiro: Livraria Eldorado Tijuca, [1973?].

DONIN, G. (org.). Renzo piano: pezzo per pezzo/Piece by piece. Roma: Casa del Libro Editrice, 1982.

FREITAS FILHO, H. B. V.; GUIZZO, I.; MARTINS, E. F. O conforto no ambiente construído: técnica, ambiência e subjetividade. Pós: Revista Programa Pós-Graduação em Arquitetura e Urbanismo FAUUSP, v. 25, n. 47, p. 52-73, 2018.

WULF, A. A invenção da natureza: a vida e as descobertas de Alexander Von Humboldt. São Paulo: Editora Planeta do Brasil, 2017.

ZUMTHOR, P. Pensar a arquitectura. Barcelona: Editorial Gustavo Gili, 2005.

ZUMTHOR, P. Atmosferas. Barcelona: Editorial Gustavo Gili, 2006.

Parthenon. Acropolis, Athens. Arch. Callicrates and Ictinos. Vth Century BC
Source: Hermano Freitas sketch (2014).

Alley. Athens, Greece.
Source: Hermano Freitas sketch (2014).

Temple of Apollo. Delphi, Greece. Arch. Trofônio and Agamedes. IVth Century BC
Source: Hermano Freitas sketch (2014).

Above: Torre Del Mangia. Piazza Del Campo, Siena, Italy. Constr. Agostino di Giovanni. XIVth Century; Below: Tower in Monteriggioni. Italy. XVth Century (?).
Source: Hermano Freitas sketch (2014).

Above: Gondola. Venice, Italy; Below: Tranca. Venice, Italy.
Source: Hermano Freitas sketch (2014).

Above: IL Redentore. Giudecca, Venice, Italy. Arch. Andrea Palladio. XVIth Century; Below: St. Peter's Square. Vatican. Arch. (Gian Lorenzo) Bernini. XVIIth Century.
Source: Hermano Freitas sketch (2014).

Above: Rua Direita. Tiradentes, Brazil; Below: São José de Botas Fountain. Tiradentes, Brazil. XVIIIth Century.
Source: Hermano Freitas sketch (2005).

Above: Palácio de La Moneda. Santiago, Chile. Arch. Joaquín Toesca. XVIIIth Century; Below: Três Poderes/Planalto. Brasilia, Brasil. Arch. Oscar Niemeyer. 1960.
Source: Hermano Freitas sketch (2015 and 2004, respectively).

Municipal Theater. Rio de Janeiro, Brazil. Arch. Francisco de Oliveira Passos. 1908.
Source: Hermano Freitas sketch (2005).

MEC. Rio de Janeiro, Brazil. Arch. Lucio Costa, Affonso Eduardo Reidy, Carlos Leão, Ernani Vasconcelos, Jorge Machado Moreira, Oscar Niemeyer. Consultoria Le Corbusier, 1937.
Source: Hermano Freitas sketch (2002).

Above: Barcelona Pavilion. Barcelona. Arch. Mies van der Rohe. 1929 International Fair; Below: Joan Miró Foundation. Barcelona, Spain. Arch. Josep Lluis Sert, 1975.
Source: Hermano Freitas sketch (2016).

I.G. Metall (main facade detail). Berlin, Germany. Arch. Erich Mendelsohn, 1930.
Source: Hermano Freitas sketch (2014).

Above: MASP. São Paulo, Brazil. Arch. Lina Bo Bardi, 1968; Below: Curutchet Residence. La Plata, Argentina. Arch. Le Corbusier, 1950.
Source: Hermano Freitas sketch (2003 and 2016, respectively).

TV Tower. Berlin, Germany. Arch. Hermann Henselmann, 1969.
Source: Hermano Freitas sketch (2014).

Holocaust Memorial. Berlin, Germany. Arch. Peter Einsenman, 2005.
Source: Hermano Freitas sketch (2014).

Above: Acropolis Museum. Athens, Greece. Arch. Bernard Tschumi, 2009; Below: Brasilia's Cathedral. Brasilia Brazil. Arch. Oscar Niemeyer, 1970.
Source: Hermano Freitas sketch (2014 and 2004, respectively).

Above: UC Innovation Center. Santiago, Chile. Arch. Alejandro Aravena, 2014; Below: MAXXI Museum. Roma, Italy. Arch. Zaha Hadid, 2009.
Source: Hermano Freitas sketch (2015 and 2014, respectively).

Houses (almost twin houses). Valparaiso, Chile. No date.
Source: Hermano Freitas sketch (2015).

Singular. Tower in Mykonos. XVth Century (?).
Source: Hermano Freitas sketch (2014).

NOTES

1 . Our translation: “materials in perfect harmony of their meanings composing their atmospheres”.

2 . Our translation: “The meaning, which must be created in the context of materials, is to be found beyond the composition rules”.

3 . Our translation: “What speaks to the soul escapes our measurements”.

4 . Our translation: “[...] the way of being affected by the place can be problematized and integrated with the tacit use of the known senses that our body has available, but understanding how those senses interact with each other and react to the stimuli we receive not only from the external environment, but also from our internal setting, our temperature, smell, hearing, vision, our organs, our affective memories”.

5 . Our translation: “In other words, the calls on the stairs still resound. In the order of difficult memories, well beyond the geometries of the drawing, it is imperative to rediscover the shade of light, then the sweet aromas that remain in the empty rooms, putting seal in the air in each one of the rooms of the house of remembrance”.