Tese (doutorado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, 2012. / Submitted by Tania Milca Carvalho Malheiros (tania@bce.unb.br) on 2012-09-13T13:36:56Z No. of bitstreams: 1 2012_ElcioGomesSilva.pdf: 221708422 bytes, checksum: 9faefcabacfe978a26d8ea6a9b9cf540 (MD5) / Approved for entry into archive by Patrícia Nunes da Silva(patricia@bce.unb.br) on 2012-09-13T17:54:19Z (GMT) No. of bitstreams: 1 2012_ElcioGomesSilva.pdf: 221708422 bytes, checksum: 9faefcabacfe978a26d8ea6a9b9cf540 (MD5) / Made available in DSpace on 2012-09-13T17:54:19Z (GMT). No. of bitstreams: 1 2012_ElcioGomesSilva.pdf: 221708422 bytes, checksum: 9faefcabacfe978a26d8ea6a9b9cf540 (MD5) / Palácios da Alvorada, do Congresso Nacional, do Supremo Tribunal Federal e do Planalto: os primeiros palácios construídos em Brasília constituem marcos da arquitetura e da engenharia de estruturas, materializando plenamente a forma plástica estabelecida por seus autores: o arquiteto Oscar Niemeyer e o engenheiro-civil Joaquim Cardozo. Recentemente reconhecidos como patrimônio cultura! nacional, os edifícios passaram a demandar diretrizes específicas para sua manutenção, preservação ou qualquer intervenção física. O conhecimento aprofundado documental e histórico das obras é fundamental no estabelecimento de tais valores. O objetivo desta pesquisa é superar as lacunas e imprecisões na bibliografia técnica e histórica corrente, de modo a permitir o juízo crítico face à preservação da autenticidade original e histórica dos edifícios. Tendo por fundamento a documentação dos projetos originais de arquitetura e de engenharia de estruturas, elaborados entre 1956 e 1960, procura-se mapear a ocorrência das premissas manifestadas pelos autores dos projetos relativas à forma plástica. A tarefa é empreendida por meio da abordagem que se denomina como o percurso da arquitetura dos palácios, definida pelo estudo do conjunto edificado em periodização abrangida pelas etapas de concepção, desenvolvimento projetual e construção, buscando compreender os objetos materiais. O estudo traz à luz versões de projetos não conhecidas e permite, por meio do alinhamento cronológico, traçar a genealogia dos palácios. Determinações intrínsecas e contextuais são extensamente analisadas de modo a revelar as um processo continuado de consolidação de princípios que estende seus efeitos até os dias atuais e constitui fundamentação legítima para a preservação dos edifícios. ______________________________________________________________________________ ABSTRACT / The Alvorada Palace, The Palace of the National Congress, The Supreme Court and The Planalto Palace: the first palaces built in Brasilia are landmarks both in architecture and in structural engineering, fully accomplishing a will to form by their authors: the architect Oscar Niemeyer and the engineer Joaquim Cardozo. Recently listed as National Monuments, the buildings demand specific guidelines, maintenance, conservation or any material intervention. Thorough documental and historical knowledge of the works is paramount to establish such directives. The aim of this research is to overcome gaps and imprecisions in current technical and historical bibliography in a way that allows critical judgment to preserve the original and the historical authenticity of the buildings. The authors' written speech is here taken as a set of premises for the plastic form to be verified in the original documentation of the architectural and structural engineering designs, produced between 1956 and 1960. The task is accomplished through an approach here named as the architectural path of the palaces, which is defined by the phases of conception, design development and building - aiming to The research brings to light previously unknown versions of the designs, allowing us to establish a genealogy for the palaces through chronological alignment. Intrinsic and contextual determinations are here extensively analyzed to reveal the causes behind the main formal solutions. Mastery in structural engineering, and the original short time to design and build the palaces were found to be fundamental premises for architectural decisions - constantly recreated. The architectural path of the Palaces, far more complex than the one registered by current bibliography, reveals us a continuous process of consolidation of principles - still valid today for the preservation of the Monuments.

Esta pesquisa aborda a Curadoria do Acervo Artístico-Cultural dos Palácios do Governo do Estado de São Paulo, responsável pela zeladoria de um acervo público intimamente ligado às estruturas administrativas do Estado de São Paulo, suas funções e atividades. Apresenta um histórico da formação e consolidação do Acervo Artístico-Cultural dos Palácios do Governo do Estado de São Paulo, relacionando-o aos diversos palácios já ocupados pelo Governo do Estado, e dos setores responsáveis por seu gerenciamento, a Curadoria do Acervo Artístico-Cultural dos Palácios do Governo, o seu Conselho de Orientação e o seu Conselho Consultivo. O processo curatorial desenvolvido ao longo do tempo, e aprimorado pela gestão atual, que teve início em 2007, é analisado, dando-se ênfase à metodologia utilizada para a elaboração, produção e montagem de exposições, seu principal procedimento de comunicação. A partir dos dados apresentados, visando estruturar mecanismos de proteção aos acervos de palácios de governo, formula a hipótese de implementar documentos para uma mais adequada gestão, o Plano Museológico e a Política de Gestão de Acervo. / This research addresses the Curatorship of the Artistic-Cultural Collection of the Governmental Palaces of the State of São Paulo, responsible for the safeguard of a public collection closely connected to the administrative structures of the State of São Paulo, its functions and activities. It presents the historical development of the formation and consolidation of the Artistic-Cultural Collection of the Governmental Palaces of the State of São Paulo, relating it to the several palaces once occupied by the State Government, and the departments responsible for its management, the Curatorship of the Artistic-Cultural Collection the Governmental Palaces, its Guidance Council and its Advisory Council. The curatorial process developed throughout the time, and improved by the current management, which began in 2007, is analyzed, emphasizing the methodology used for the elaboration, production and setting up of exhibitions, its main communication procedure. From the presented data, aiming to structure protection mechanisms for collections of governmental palaces, it formulates the hypothesis of implementing documents for better management, the Museological Plan and the Collection Management Policy.

Ce considérable travail de recherche s’occupe de faire la relation entre l’Architecture, le Pouvoir et l’Oppression. Pour devenir possible cette tâche, nous avons, d’abord et de façon particulière, discouri largement au sujet de ces concepts, pour arriver, à la fin, de forme étendue, à une étude plus complète, plus objective et plus conclusive. La recherche a été divisée en trois parties, aux abordages distintes, mais complémentaires parmi leurs mêmes. Dans la première, nous avons travaillé sur l’arc de l’évolution de l’Architecture, qui commence avec la Renaissance, continue travers le Maniérisme et polarise em arrivant au Baroque, lequel nous a intéressé , particulièrement, une fois qu’il s’agit d’une expréssion claire du Pouvoir sur les Arts. Dans la deuxième, nous avons defini le concept du mot Pouvoir à travailler, en choisissant le Roi Louis XIV , de France, comme le suprême représentant de l’expréssion. Tout de suíte, nous avons remarqué la Cour du Monarque comme paradigme de l’Oppression. Dans la troisième partie, finalement, nous avons réalisé la resumée de tous ces concepts, en une seule oeuvre: Versailles. Pour en finir, la compreension des études nous a permis identifer la force du symbolisme que la construction du Palais a eu: érigé pour la Gloire et la perpétuation du Pouvoir du Roi-Soleil . Le lieu où il se confond avec la construction et réalise son auto-affirmation ; le centre pour lequel toute la Cour - fréquemment opprimée par la forte vigilance du Monarque – a été déménagée. Louis XIV est le Pouvoir et Versailles est la plâce où le Roi semble lumineux comme le Soleil. / Our research is about the relation between architecture, Power and Pressure. We wrote about each concept separately, to finally get to a concrete master piece. We went through a historical background, passing by the men who lived at that age and getting to the architecture he built. The research was divided in three pieces, different but complementary. First we wrote about architecture, from Renaissance to Baroque. Baroque interested us more, for it is a style of singular expression of Power. Second we defined Power and Pressure, chousing Luis XIV and his Court as the best example. And last we finally synthesize it all in a single building: Versalhes. A symbolical Palace, built for the endless glory of the Sun-King. Where the monarch is self-compared to the grandness of the architecture. The place where the Court was transferred to and lived under the powered pressure and control of its majesty.

Ce considérable travail de recherche s’occupe de faire la relation entre l’Architecture, le Pouvoir et l’Oppression. Pour devenir possible cette tâche, nous avons, d’abord et de façon particulière, discouri largement au sujet de ces concepts, pour arriver, à la fin, de forme étendue, à une étude plus complète, plus objective et plus conclusive. La recherche a été divisée en trois parties, aux abordages distintes, mais complémentaires parmi leurs mêmes. Dans la première, nous avons travaillé sur l’arc de l’évolution de l’Architecture, qui commence avec la Renaissance, continue travers le Maniérisme et polarise em arrivant au Baroque, lequel nous a intéressé , particulièrement, une fois qu’il s’agit d’une expréssion claire du Pouvoir sur les Arts. Dans la deuxième, nous avons defini le concept du mot Pouvoir à travailler, en choisissant le Roi Louis XIV , de France, comme le suprême représentant de l’expréssion. Tout de suíte, nous avons remarqué la Cour du Monarque comme paradigme de l’Oppression. Dans la troisième partie, finalement, nous avons réalisé la resumée de tous ces concepts, en une seule oeuvre: Versailles. Pour en finir, la compreension des études nous a permis identifer la force du symbolisme que la construction du Palais a eu: érigé pour la Gloire et la perpétuation du Pouvoir du Roi-Soleil . Le lieu où il se confond avec la construction et réalise son auto-affirmation ; le centre pour lequel toute la Cour - fréquemment opprimée par la forte vigilance du Monarque – a été déménagée. Louis XIV est le Pouvoir et Versailles est la plâce où le Roi semble lumineux comme le Soleil. / Our research is about the relation between architecture, Power and Pressure. We wrote about each concept separately, to finally get to a concrete master piece. We went through a historical background, passing by the men who lived at that age and getting to the architecture he built. The research was divided in three pieces, different but complementary. First we wrote about architecture, from Renaissance to Baroque. Baroque interested us more, for it is a style of singular expression of Power. Second we defined Power and Pressure, chousing Luis XIV and his Court as the best example. And last we finally synthesize it all in a single building: Versalhes. A symbolical Palace, built for the endless glory of the Sun-King. Where the monarch is self-compared to the grandness of the architecture. The place where the Court was transferred to and lived under the powered pressure and control of its majesty.

Ce considérable travail de recherche s’occupe de faire la relation entre l’Architecture, le Pouvoir et l’Oppression. Pour devenir possible cette tâche, nous avons, d’abord et de façon particulière, discouri largement au sujet de ces concepts, pour arriver, à la fin, de forme étendue, à une étude plus complète, plus objective et plus conclusive. La recherche a été divisée en trois parties, aux abordages distintes, mais complémentaires parmi leurs mêmes. Dans la première, nous avons travaillé sur l’arc de l’évolution de l’Architecture, qui commence avec la Renaissance, continue travers le Maniérisme et polarise em arrivant au Baroque, lequel nous a intéressé , particulièrement, une fois qu’il s’agit d’une expréssion claire du Pouvoir sur les Arts. Dans la deuxième, nous avons defini le concept du mot Pouvoir à travailler, en choisissant le Roi Louis XIV , de France, comme le suprême représentant de l’expréssion. Tout de suíte, nous avons remarqué la Cour du Monarque comme paradigme de l’Oppression. Dans la troisième partie, finalement, nous avons réalisé la resumée de tous ces concepts, en une seule oeuvre: Versailles. Pour en finir, la compreension des études nous a permis identifer la force du symbolisme que la construction du Palais a eu: érigé pour la Gloire et la perpétuation du Pouvoir du Roi-Soleil . Le lieu où il se confond avec la construction et réalise son auto-affirmation ; le centre pour lequel toute la Cour - fréquemment opprimée par la forte vigilance du Monarque – a été déménagée. Louis XIV est le Pouvoir et Versailles est la plâce où le Roi semble lumineux comme le Soleil. / Our research is about the relation between architecture, Power and Pressure. We wrote about each concept separately, to finally get to a concrete master piece. We went through a historical background, passing by the men who lived at that age and getting to the architecture he built. The research was divided in three pieces, different but complementary. First we wrote about architecture, from Renaissance to Baroque. Baroque interested us more, for it is a style of singular expression of Power. Second we defined Power and Pressure, chousing Luis XIV and his Court as the best example. And last we finally synthesize it all in a single building: Versalhes. A symbolical Palace, built for the endless glory of the Sun-King. Where the monarch is self-compared to the grandness of the architecture. The place where the Court was transferred to and lived under the powered pressure and control of its majesty.

Esta pesquisa aborda a Curadoria do Acervo Artístico-Cultural dos Palácios do Governo do Estado de São Paulo, responsável pela zeladoria de um acervo público intimamente ligado às estruturas administrativas do Estado de São Paulo, suas funções e atividades. Apresenta um histórico da formação e consolidação do Acervo Artístico-Cultural dos Palácios do Governo do Estado de São Paulo, relacionando-o aos diversos palácios já ocupados pelo Governo do Estado, e dos setores responsáveis por seu gerenciamento, a Curadoria do Acervo Artístico-Cultural dos Palácios do Governo, o seu Conselho de Orientação e o seu Conselho Consultivo. O processo curatorial desenvolvido ao longo do tempo, e aprimorado pela gestão atual, que teve início em 2007, é analisado, dando-se ênfase à metodologia utilizada para a elaboração, produção e montagem de exposições, seu principal procedimento de comunicação. A partir dos dados apresentados, visando estruturar mecanismos de proteção aos acervos de palácios de governo, formula a hipótese de implementar documentos para uma mais adequada gestão, o Plano Museológico e a Política de Gestão de Acervo. / This research addresses the Curatorship of the Artistic-Cultural Collection of the Governmental Palaces of the State of São Paulo, responsible for the safeguard of a public collection closely connected to the administrative structures of the State of São Paulo, its functions and activities. It presents the historical development of the formation and consolidation of the Artistic-Cultural Collection of the Governmental Palaces of the State of São Paulo, relating it to the several palaces once occupied by the State Government, and the departments responsible for its management, the Curatorship of the Artistic-Cultural Collection the Governmental Palaces, its Guidance Council and its Advisory Council. The curatorial process developed throughout the time, and improved by the current management, which began in 2007, is analyzed, emphasizing the methodology used for the elaboration, production and setting up of exhibitions, its main communication procedure. From the presented data, aiming to structure protection mechanisms for collections of governmental palaces, it formulates the hypothesis of implementing documents for better management, the Museological Plan and the Collection Management Policy.