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Fortuna Crítica Sergio Rodrigues patrocínio apoio realização sponsorship support made possible by 2 Fortuna Crítica Sergio Rodrigues curadoria afonso luz organização | organization capa | cover Instituto Sergio Rodrigues Composição a partir de plantas do Sistema SR2 da Casa individual curadoria, notas e comentários críticos pré-fabricada e croquis da poltrona curation, notes and critical comments Tonico, de Sergio Rodrigues. Afonso Luz Composite using SR2 system’s coordenação geral | general coordination blueprints from the Individual Renata Aragão Prefabricated House, and Tonico armchair sketches, by Sergio Rodrigues. coordenação editorial | editorial coordination Camilla Savoia p. 1 design visual | visual design Sergio Rodrigues em seu escritório Sônia Barreto na Oca, 1965 [Acervo Instituto Sergio Rodrigues] pesquisa | research Dimitri Buriti Sergio Rodrigues in his office at Oca, 1965 museologia | museology [Sergio Rodrigues Institute Collection] Laíse Rangel p. 6 arquivologia | archive administration Exposição Casa individual pré-fabricada, Simone Ferreira MAM Rio, março de 1960 Ao Sergio Rodrigues e à Vera Beatriz tradução dos textos, notas e comentários críticos [Acervo Instituto Sergio Rodrigues] texts, notes and critical comments translation Individual Prefabricated Home Ana Ban Exhibition, MAM Rio, March 1960 [Sergio Rodrigues Institute Collection] tradução da apresentação, introdução, legendas e textos adicionais foreword, introduction, subtitles and additional texts translation Gabriela Baptista revisão de tradução | translation proofreading Letícia Barroso tratamento de imagens | image treatment Trio Studio impressão | printing Stilgraf patrocínio apoio organização realização sponsorship support organization made possible by Para os imperialistas romanos, a construção em pedra e cal significava a eternidade, enquanto o material bárbaro, a madeira, representava o precário, o provisório; assim, nós latinos, até hoje temos esse descabido preconceito contra casas de madeira, justamente o oposto do que acontece com os povos bárbaros de origem saxônica, germânica e nórdica cujo respeito e admiração por tal material é tão profundo que o índice de utilização da madeira em suas construções é quase absoluto. sergio rodrigues Oca é casa indígena. A casa indígena é estruturada e pura. Apresentação Nela, os utensílios, o equipamento, os petrechos e paramentos pessoais, em tudo se articula e integra, com apuro formal, em função da vida. A simples escolha do nome define o sentido da obra realizada por Sergio Rodrigues e seu grupo. Lucio Costa fernando mendes Rio, 10/II/62 presidente do instituto sergio rodrigues Oca is the indigenous home. The indigenous home is structured and pure. In it, utensils, equipment, personal gear and trappings, are all articulated and integrated, with formal care, to serve life. QUEM CONHECEU SERGIO RODRIGUES sabe bem quais ideais o norteavam. The simple name choice defines the meaning of the work done by Sua longeva produção na arquitetura e no design expôs novos rumos à nossa Sergio Rodrigues and his group. cultura – rumos esses que serão percebidos num futuro próximo, a ser vivido Lucio Costa pelas novas gerações. Rio, February 10, 1962 Sergio era avesso a todo tipo de dogmatismo, acreditava no novo, não como se vê hoje nessa urgência da inovação que sustenta um consumo desenfreado, rápido e vulgar. Sua visão do novo propunha a reflexão e o desejo de encontrarmos em nossas vidas um jeito próprio de viver, diferente daquele herdado ou imposto pelos nossos ancestrais colonizadores e colonizados, cheios de maneirismos que não compunham bem com nosso clima, nosso ambiente e nossa, ainda que recente, história. Em 1955, Sergio fundou a Oca, uma loja- galeria que desafiava o gosto em voga. O nome “Oca”, escolhido por Sergio, já evidenciava a provocação, referia-se àquilo que é genuinamente brasileiro – a Carta de Lucio Costa para Sergio nossa ancestralidade indígena convidada a participar da nossa habitação. Rodrigues, fevereiro de 1962 Em 1958, Sergio Rodrigues foi convidado a escrever, pela primeira vez, para [Acervo Instituto Sergio Rodrigues] a Módulo, revista especializada em arquitetura e artes plásticas, que contava com Letter from Lucio Costa to Sergio Oscar Niemeyer como diretor-responsável. Nela, Sergio traça alguns caminhos Rodrigues, February 1962 [Sergio Rodrigues Institute Collection] que marcam o surgimento de uma reflexão conceitual inovadora na junção de arquitetura e de design, o que traduz o que era mesmo o espírito da Oca. Alguns Afonso nos dá a contextualização do recorte deste tempo escolhido para anos mais tarde, Sergio foi convidado a contribuir regularmente para a Senhor, essa Fortuna Crítica. Buscou referências por vezes longínquas para balizar seus periódico cheio de bossa que reunia os maiores nomes ligados à cena cultural comentários – prática usual na crítica de artes visuais e algo necessário para que daquela época. Na Senhor, seu desafio era atrair o interesse do público o jovem leitor entenda plenamente o sentido do texto de Sergio, recheado de masculino para o assunto da decoração, ou melhor, para a arquitetura de informações que hoje provavelmente não seriam completamente compreendidas interiores, como Sergio preferia se referir ao seu ofício, algo que ele via como sem as notas de texto. Com estas notas e ensaios críticos, ele apresenta reflexões bem mais abrangente do que se embrenhar nas escolhas de móveis e objetos ainda mais ácidas ao pormenorizar as ideias de Sergio, além de acrescentar uma para compor o arranjo doméstico. visão atualizada sobre o alcance de suas humoradas crônicas, numa profunda O que veremos nessa Fortuna Crítica é essa faceta menos conhecida da observação aos nossos modos de vida, daqueles tempos e os atuais. Temos aqui personalidade de Sergio: a de pensador e cronista. Aqui, propomos uma uma compreensão afiada da importância de Sergio como figura que vai além do coletânea de textos publicados na Módulo e na Senhor, em que Sergio se modernismo, que abre caminhos para um tempo de criação pós-moderno, expressa com a mesma descontração e informalidade que sempre teve. Seus fundamentalmente contemporâneo, no cenário cultural do Brasil. escritos são regados de afeto, sensibilidade e de bom-humor, mas enganam-se Os comentários desvendam significados que nunca saberemos se de fato aqueles que entendem Sergio somente sob essas qualidades frugais. Há em foram pensados por Sergio, mas pelo imenso interesse que a obra de Sergio seus textos uma crítica contundente dos modos de viver naqueles anos, e não Rodrigues desperta nas pessoas, tendo a acreditar que sim. Tudo aquilo que a raro ataca com ironia e elegância os hábitos sociais vigentes. crítica percebe nas entrelinhas vai além do texto, mas é provável que já estivesse Afonso Luz, um dos curadores do Instituto Sergio Rodrigues, foi lá, de algum jeito, na sua imaginação. convidado para organizar conosco este livro. Ele traz seu aporte de crítico de arte, formado em Filosofia pela Universidade de São Paulo, e, nestes termos, buscou refletir sobre questões de estética e de história da arte que lhe interessam. Afonso conheceu, conviveu e entrevistou Sergio em sua última década de vida. A partir deste diálogo foi que pôde selecionar, para este livro, alguns textos publicados nas duas revistas, nas décadas de 1950 e 1960. Ao conhecer Sergio, ele se encantou com o magnetismo de sua figura e com a potência criativa de sua obra, e depois foi convidado pelo próprio designer para ser um dos idealizadores do Instituto Sergio Rodrigues e desde a origem é membro do seu conselho-curador. Hoje é este Instituto que nos dá capacidade de publicar este primeiro livro organizado a partir de um vastíssimo acervo, com o propósito de estimular diversas ações institucionais ligadas à difusão e à compreensão da obra de Sergio. Como também vemos aqui, trata-se de alguém que nos deixa um legado muito maior que o do designer elogiado e premiado como criador da poltrona Mole. A pretexto de introduzir afonso luz curador do instituto sergio rodrigues INTERPRETAR UMA OBRA é algo que requer tempo. Devemos esperar que o tempo faça seu trabalho: revelar o que desconhecíamos do passado e que vem à tona, até por acasos, incertos acidentes, inesperados achados, sempre nos mostrando outros dados neste mundo das narrativas construídas. E há muito ainda que pode surgir no labirinto de documentos que uma vida nos deixou como legado de intenso trabalho. Há ainda as coisas que se perderam em definitivo, enredos que restarão incompletos, informações parciais e por vezes contraditórias; nestes episódios a imaginação de cada intérprete buscará concluir com sua especulação, nessa arte de deduzir do todo o valor que há em cada parte. E muita vez somos salvos pela imaginação, a restituir capítulos obscuros com hipóteses desenhadas. Assim a escrita tece este manto mítico que reveste criações de aura e importância, quase sagradas. Desta feita vem fazendo-se a interpretação e a história da obra de Sergio Pavilhão dos professores da UnB, publicado no Plano Rodrigues, figura lendária que há pouco nos deixou. Antes de partir, ele ainda Orientador da Universidade de conseguiu reunir todos os seus arquivos, papéis de mais de sessenta anos de Brasília, 1962 atividade, todos eles hoje num Instituto que agora leva seu nome e que irá UnB's professors' pavilion, published in the University of preservar sua memória. Tamanha generosidade de um mestre torna ainda mais Brasília’s Orientation Plan, 1962 complexo nosso trabalho de avaliação e narrativa, posto que ao doar todo seu acervo tornando-o
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