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Um Corte Transversal Gordon Matta-Clark

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Um Corte Transversal Gordon Matta-Clark RAFAEL DE OLIVEIRA SAMPAIO OLIVEIRA DE RAFAEL 1.MATTA-CLARK’S INSPIRATION AND SOURCES IN ARCHITECTURE, p.B-8 p.A-158 PARCIAIS, PARCIAIS, 2.NEOVANGUARDAS CONSIDERAÇÕES CONSIDERAÇÕES 4. ARQUITETÔNICAS E SÃO CARLOS . 2019 MATTA-CLARK, p.B-20 p.A-108 PARTICIPAÇÃO, PARTICIPAÇÃO, APROPRIAÇÃO E E APROPRIAÇÃO 3. 3.ANARQUITETURA: ARQUITETURA p.A-78 COTIDIANO, COTIDIANO, “EXTRAMUROS”, p.B-50 2. CORPO, CIDADE E E CIDADE CORPO, 4.A FORMA E p.A-4 METAMORFOSES, METABOLIZAÇÃO, METABOLIZAÇÃO, p.B-94 ENTROPIA E E ENTROPIA 5.DETRITOS, CATACUMBAS, E PROCESSUALIDADE; PROCESSUALIDADE; E CAÇAMBAS, CEMITÉRIOS ESCULTURA; MATÉRIA MATÉRIA ESCULTURA; E OUTROS PONTOS CEGOS NO CAMPO DA DA CAMPO NO NA CIDADE, p.B-118 NOVAS PRÁTICAS PRÁTICAS NOVAS ROBERT SMITHSON SMITHSON ROBERT 1. artes plásticas em nova york na década de 1970 de década na york nova em plásticas artes GORDON MATTA-CLARK: UM CORTE TRANSVERSAL CORTE UM MATTA-CLARK: GORDON P.A além do campo da arquitetura: a atuação de matta-clark no campo das campo no matta-clark de atuação a P.B a atuação de matta-clark em nova york na década de GORDON MATTA-CLARK: UM CORTE TRANSVERSAL 1970 e os campos da arquitetura e urbanismo 6.CIDADE E COREOGRAFIA, 10.CONSIDERAÇÕES p.B-140 PARCIAIS, p.B-240 7.“ESCULTURA (SOCIAL) 11.CONSIDERAÇÕES URBANA”, p.B-166 FINAIS, p.B-244 8.CONSTRUÇÃO DE SÃO CARLOS . 2019 . CARLOS SÃO SUBJETIVIDADES: O PÚBLICO, O PRIVADO E A INTIMIDADE, p.B-178 GORDON MATTA-CLARK : UM CORTE TRANSVERSAL : UM CORTE GORDON MATTA-CLARK 9.DA CRÍTICA INSTITUCIONAL À EMERGÊNCIA DA POLÍTICA RAFAEL DE OLIVEIRARAFAEL SAMPAIO DE IDENTIDADES p.B-220 SAMPAIO, R. O. SAMPAIO, UNIVERSIDADE DE SÃO PAULO INSTITUTO DE ARQUITETURA E URBANISMO DISSERTAÇÃO DE MESTRADO Área de Concentração: Teoria e História da Arquitetura e Urbanismo Linha de Pesquisa: Arquitetura, Artes e Estética VERSÃO CORRIGIDA VERSÃO DIGITAL GORDON MATTA-CLARK : UM CORTE TRANSVERSAL Dissertação apresentada ao Programa de Pós-Graduação em Arquitetura e Urbanismo do Instituto de Arquitetura e Urbanismo da Universidade de São Paulo, como parte dos requisitos necessários para a realização da defesa da dissertação e obtenção do título de Mestre. RAFAEL DE OLIVEIRA SAMPAIO FÁBIO LOPES DE SOUZA SANTOS Orientador São Carlos março, 2019. “Everybody knows that our cities TRANSVERSAL adj.2g. (1563) Were built to be destroyed 1 cujo sentido é obliquo em relação a You get annoyed determinado referente <um plano t. a You buy a flat uma superfície plana> 2 B infrm. que You hide behind the mat cruza, atravessa, passa por determinado But I know she was born referente, não necessariamente na To do everything wrong with all of that oblíqua <rua t.> 3 BOT que atravessa Maria Bethânia, please send me a letter perpendicularmente a superfície ou o I wish to know things are getting better eixo de simetria de crescimento de um Better, better, beta, beta, Bethânia órgão; transverso <seção t.> s.f. 4 linha Please send me a letter transversal o ETIM transverso + -al o I wish to know things are getting better SIN/VAR ver sinonímia de oblíquo. She has given her soul to the devil (HOUAISS, Antônio; VILLAR, Mauro de But the devil gave his soul to God Salles. Dicionário Houaiss da língua Before the flood portuguesa. 1. ed. Rio de Janeiro: After the blood Objetiva, 2009) Before you can see She has given her soul to the devil Transversal é um adjetivo de dois And bought a flat by the sea gêneros. Ambíguo, é indeterminado. Maria Bethânia, please send me a letter Encontra-se aberto a associações e I wish to know things are getting better Better, better, beta, beta, Bethânia apropriações. Please send me a letter Transita. Como posição necessita de I wish to know things are getting better referentes. Atua como conector, porém Everybody knows that it’s so hard atravessa. To dig and get to the root Corte na biologia, atravessa You eat the fruit perpendicularmente a superfície/centro You go ahead do órgão, de modo a expor seu interior. You wake up on your bed Corte na arquitetura, atravessa But I love her face ‘cause perpendicularmente a superfície/centro It has nothing to do with all I said” do edificado, de modo a expor seu interior. MARIA BETHÂNIA Transverso, transgride. É irrequieto e Caetano Veloso, 1971 desenvolto, desobedece. Godoi, Flávia Marcarine, Jansen Faria, Barbara Helena e Lucas Pereira. Aos companheiros de grupo Núcleo de Pesquisa em Espacialidades Contemporâneas (NEC), que proporcionaram um ambiente acadêmico aberto à discussões, atuações e sociabilidade. Em especial, Marilia Solfa, Jessica Seabra, Paula Pacheco, Cristina Akemi, Tassia Vasconcelos, Andreia Costa e Ana Figueiredo. Aos professores David Sperling, Ruy Sardinha e Luciano Bernardino cuja atuação por meio do NEC, disciplinas, encontros, workshops e demais ocasiões, contribuíram para desenvolvimento de muitas das questões discutidas neste trabalho. Aos professores Guilherme Wisnik, Cibele Rizek, Miguel Buzzar, Paulo Castral, Joubert Lancha, Simoni Vizioli, Francisco Sales, cujas disciplinas, debates, conversas e apontamentos foram essenciais. Aos queridos amigos Tuani Guimarães, Guilherme Cuoghi e Raiane Rosi, pelo agradecimentos resumo bom humor, apreço e ótima convivência. Agradeço especialmente à Talita Heleodoro e Rafael Goffinet, queridos amigos Para a realização deste trabalho contei com fundamental apoio de de longa data, cujo auxílio e dedicação foram cruciais para a finalização desta minha família. Agradeço minha companheira Gabriela pelo constante carinho e dissertação. confiança; aos meus pais e irmã, que sempre dedicados acompanharam cada Ao amigo, professor e orientador Fábio Lopes de Souza Santos, que me passo da minha formação. acompanha desde 2006, e a quem devo parte considerável de minha formação Ao Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq), pelo pessoal e profissional. financiamento que possibilitou a realização dessa pesquisa. Aos funcionários do Instituto de Arquitetura e Urbanismo, pela atenção e disposição na execução de atividades, tarefas e demandas deste trabalho. Aos amigos que fiz no âmbito da Graduação, durante a realização do meu estágio no Programa de Aperfeiçoamento de Ensino (PAE). Aos amigos e colegas do Programa de Pós-Graduação, os quais tive a oportunidade de compartilhar o dia a dia durante o curso de mestrado. Em particular, Fausto Moura, Milena Silva, Rodolfo Sertori, Rodrigo Lima, Fabrício Realizada a partir de métodos e suportes diversificados, a produção de Gordon Matta-Clark desponta como um exemplo significativo no desenvolvimento da arte, sobretudo a partir da década de 1960/70 (momento caracterizado pela ampliação da atuação e direcionamento das pesquisas estéticas contemporâneas). Distante dos limites definidos pela prática artística institucional, o artista dedicou-se a investigar novas e inusuais formas de atuação, articulando “processo” e “apropriação” como estratégias de intervenção. Tensionando composição material e temporal do objeto/espaço, Matta-Clark expõe a relação entre constituição material e comportamento. Usando o edificado como “matéria prima”, lida com a dimensão discursiva do espaço evidenciando a imprescindível relação existente entre arquitetura, contexto e urbano. Das experimentações materiais e destaque do contexto social em Garbage Wall (1970); alteração da percepção sobre objeto arquitetônico e seu contexto em Splitting (1974); ao questionamento da limitada atuação do público frente resumo à transformação urbana de Conical Intersect (1975); Matta-Clark opera em resumo uma “área de transição”, mobilizando reflexões sobre estruturas (materiais, discursivas e simbólicas) fundamentais para a definição dos espaços e sociedade de seu tempo. Frente à atualidade e relevância de Gordon Matta-Clark, a presente SAMPAIO, Rafael de Oliveira. Gordon Matta-Clark: um corte transversal. dissertação propõe um estudo sobre sua a trajetória, partindo da relação entre 2019. 525p. Dissertação (Mestrado) – Instituto de Arquitetura e Urbanismo, esta e os campos da Arte e Arquitetura. Universidade de São Paulo, São Carlos, 2019. Palavras-chave: Gordon Matta-Clark, Arte Contemporânea, Arquitetura Contemporânea. Made from diverse methods and supports, Matta-Clark’s production emerges as a significant example in the development of contemporary art, especially since the 1960s and 1970s (moment characterized by the amplification of the activity and direction of contemporary aesthetic researches). Far from the limits defined by institutional artistic practice, the artist devoted himself to investigate new and unusual forms of action, articulating “process” and “appropriation” as intervention strategies. Tensioning the material and temporal composition of the object/space, Matta-Clark exposes the relation between material constitution and behavior. Using built as “raw material”, deals with the discursive dimension of space highlighting the essential relationship between architecture, context and the urban. From the material experiments and emphasis of the social context in Garbage Wall (1970); alteration of the perception about architectural object and its context in Splitting (1974); to the questioning of the limited action of the public in face of the urban transformation of Conical Intersect (1975); Matta- abstract Clark operates in a “transition area”, mobilizing reflections about the structures resumo (material, discursive and symbolic) fundamental for the definition of spaces and society of his time. In the view of the present and relevance of Gordon Matta- Clark, this dissertation proposes a study about his trajectory, starting from
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