Perfect architect

The “late” Montreal Engenharia (1955-2005, 100% Brazilian, reaching 25,000 employees), was a true graduate school for engineers, architects, economists, lawyers and friendships (and a few rare enmities too, because it would be a lie to maintain the opposite in any environment).

In 1977-78, Montreal’s Projects Division (MONEP) came to incorporate Internacional de Engenharia (IECo, a division of Morrison-Knudsen, from the USA), although IECo was larger than MONEP. It came to be called IESA.

In the architecture department, only aces, commanded by Gilberto Ribeiro: Ascânio, Milton, Eric, Luís, Paulino, Emidio, Kleris, Artêncio, Teresa, Ângela, in short, in industrial architecture they were unrivaled anywhere in the world.

Emidio was a case apart. An excellent architect and a gifted “freehand” draftsman, he could quickly make excellent perspective drawings, true paintings, showing how the unit under development would look, at a high level of detail and perfection, while at the same time solving design issues and incorporating solutions. Not that the others did not also do it; they were all good at tracing the necessary perspectives from the beginning of the works, as imagination, technical needs and good taste dictated.

The “touch” was Emidio’s perfectionism. He made the drawings for our internal meetings and discussions, but afterward collected everything and would not let them be shown to the client because something always needed to be improved.

Around 1998-2000, many of us had already left IESA. I was at AQUACON doing a job for the then-starting Prolagos and invited Emidio to work with us, specifically on the Juturnaíba 1 Water Treatment Plant (the former C. N. Álcalis WTP), which was to be rehabilitated and doubled.

Emidio understood everything, the hydraulic, chemical, structural, foundation, piping, pump and filter aspects, and drew a “vol-d’oiseau” of how the WTP would look, in pencil on paper, as if it were a pen-and-ink drawing, with the expansions, renovations, etc. As always, it turned out “good and beautiful”, that is, excellent.

Days later there would be a meeting in Cabo Frio with the president of Prolagos, at the time Vlamir Paes. We had a carefully made enlarged copy of Emidio’s drawing and I went to the meeting. Out of respect for copyright and to give Caesar what is Caesar’s, before sending it to be copied, I added, in pencil, and imitating an architect’s handwriting, the date and Emidio’s name in the lower right corner, as painters usually do on paintings. When we got there, the drawing was a success and Wlamir took possession of it.

A month later we went, in caravan, with some Portuguese and some Germans (from Hochtief) and Emidio, to tour the Prolagos concession region, ending with a meeting in the room next to that of the “president”. At a certain moment I went to Vlamir’s office and saw that the drawing, more or less in A2 format, had become a framed picture, frame and all, on the wall behind his chair. I thought it was great; the client was liking our work in every respect. I went to call Emidio to see it, thinking he would be happy.

“What for......!?!?!”

Emidio “let loose”, as Ray Conniff said in a performance of his orchestra at Canecão- Rio around that same time: >> that we could not have disclosed that without his authorization, >> that the drawing still needed to be finished, >> that it was not good, >> that he had done it anyhow as a “study”, >> that to be exhibited it would have to be redone, >> that it was disrespectful, etc., etc.

When he seemed to be calming down, he saw the “forged signature”!

Everything went back to square one, he disregarded the fact that he was not alone and, with all the politeness of an architect in a trance, began to shout against the picture and against everyone, especially my person, accused of being a “cheap forger”, “adulterator”, “inventor of art”, “without knowledge”, “imbecile on the subject”, “perfect idiot and idiot perfect”, in short, even my dear mother was not spared.

I was saved by Engs. J. Casasola and M. Carvela, then at Prolagos, who intervened, incredulous, half laughing and half serious and, with their peculiar elegance, dragged Emidio to another floor before the surprised looks of Germans and Portuguese who understood nothing.

The incident ended up being overcome, because we were all good people (Vasco fans), including dear Emidio, Casasola, Vlamir, and even Olavo Monteiro de Carvalho, majority shareholder of Prolagos at the time.

Miguel Fernández y Fernández, engineer, chronicler and columnist, member of the National Academy of Engineering and of the Institute of Engineering # written in Feb 2022 R2026 Jan, 4,516 characters.