Da Ideia ao Projeto - Desejo, Pecado e Razão

Abstract

This dissertation focuses on drawing as a mediating practice between the universe of the imaginary and the materialization of the architectural project, based on the hypothesis that drawing organizes mental images and converts ideas into concrete proposals. The research is structured in three parts: "Ver", "Criar" and "Fazer" (corresponding, respectively, to "Desejo", "Pecado" and "Razão"), which progressively articulate the formation of internal representations, their formalization in representational systems, and their translation into a feasible project. The object of study encompasses two fundamental dimensions: a)the imaginary dimension, in which the gesture of drawing capturesmemories, dreams, and personal experiences and constitutes a symboliclanguage that connects the architect to their inner world; b)the materiality dimension, which addresses the transition from drawingto project realization through structures and representational systems thatorganize and validate ideas, making thought achievable. The central objective of this study is to deepen the understanding of the role of drawing as a creative practice in architecture, investigating how the act of drawing influences the creative process and contributes to the realization of design ideas. To this end, the research explores perceptual and cognitive processes, perception, memory, and imagination, and their interaction in the formation of mental images. It analyzes how this mental structure is organized and transformed into systems of representation through line and graphic representation. It also identifies the strategies and stages that convert the gesture of drawing into a concrete project, from the genesis of the idea to its measurable realization. The methodology adopts a theoretical and critical approach complemented by a practical case study: the analysis of Louis Kahn's Dominican Motherhouse. The research began with a bibliographic and documentary survey that identified theoretical contributions from authors such as Philip Cabau, Alberto Carneiro, Joaquim Vieira, Aby Warburg, Juhani Pallasmaa, Italo Calvino, Leonardo da Vinci, Erwin Panofsky, and Hubert Damisch, among others. From there, it was organized into three parts that define the structure of the dissertation. The "Ver" phase investigates the perceptive and cognitive dimensions that give rise to internal representations; the "Criar" phase analyzes the construction of these representations, the structuring of thought, and the development of representational systems; and the "Fazer" phase examines the strategies that transform conception into a materialized project. The case of Louis Kahn was selected because it allows us to follow the path from the first stroke to the rigorous drawing. The study of this project is particularly interesting because it was never built, remaining only as a graphic record. For the analysis, 63 images were selected based on criteria of relevance to the project's progress, the diversity of drawings (sketch, plan, section, axonometry), and the presence of handwritten notes with design intent. The case study combines critical analysis of graphic production with the interpretation of drawing as a language, an experimental laboratory, and a cognitive instrument that influences design decisions. In summary, the dissertation argues that drawing operates as a language, a space for experimentation, and a cognitive instrument, being crucial for the transition between imagination and built work.