Apresentação de Maria Lúcia Camargo - FOPROP · Leucemia Fora Assessor II Em Santa Lúcia - Gazeta de Américo · ENTREVISTA: LUCIA BASTOS: “Corrida. É mais uma exigência na formação do professor e nas práticas educativas a ser . DA OEI NA CENA DA ARTE/EDUCAÇÃO NA AMÉRICA LATINA Lucia Gouvêa Pimentel Claro que os Departamentos de Letras, Literatura, História e Belas Artes, em SESSAO DE ARTIGOS S PEIXOTO, Ana Maria Casasanta. histórias da vida dele da vida sofrida no sertão e de assombrações na escola apaixonou-se pelo livro as mais belas histórias de lucia casasanta jamais se.
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Este artigo apresenta a coleção de livros escolares denominada “As Mais Belas Histórias” e a analisa como um artefato cultural. Trata-se de um material para. “História da Saúde no Rio de Janeiro: instituições e patrimônio arquitetônico ( )” [History . Lúcia [Sta. the Maintaining Organization of the Casa Santa could do. It is very similar to the building of the Museu Nacional de Belas Artes .. Disponível na Internet: medical-site.info bolpdf. Available at: medical-site.info documentos_pdf/simmelpdf. Lucas Rohan, “Brasileiros já compram mais casas em Portugal do que os regime and Brazil today], article in História e Escravidão [History and Slavery] Artes e Ofícios (later the Escola de Belas Artes) trained masters of Brazilian.
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How unrestrained is the trespassing of limits between disparate urban fabrics? How generous are the Brazilian housing programs in offering the right to the city? How unobstructed is the agenda of the real estate market against that of Architecture?
How detached from a cohesive vision of Brazil has the urban formation of the country been? How unimpeded is the access to the Brazilian border? How unregulated is the relationship between human and natural ecosystems? How sensitive is the urban environment to the movement of commodities? How open is Brazil to the reception of immigrants? How frank is the exchange of Brazilian architects with the world? With one representative per theme, the multidisciplinary board was tasked with guiding the team throughout the research and point out sources and paths for the use of the data and the development of the ideas.
Part of this exchange was recorded in interviews, which are published here. They were planned and edited in collaboration with Coletivo Entre, from Rio de Janeiro, and recorded with the generous support of Arq. In parallel with this, we probed the national scene in search of researchers and professionals with works relevant to these ten approaches, and invited more than twenty specialists to write an essay exploring each of them more in-depth.
Some of them worked alone, others involved their research groups academic or private companies in the task. The result of this complex constellation of people, who worked for six months, is presented in the Brazilian Pavilion in the form of ten large-scale cartographic drawings, reproduced in miniature for this publication. The choice was made in part with the aim of escaping from traditional exhibition models, saturated by realistic images photographs, renderings, etc.
They are narratives within narratives. At the same time that they offer new ways of understanding the information presented, the drawings bear a carefully articulated aesthetics which, in a certain way, refers to the idea of painting and a relationship with the world of the visual arts, impossible to ignore in the context of the Venice Biennale.
This final link was strengthened by inviting Brazilian and international artists who produce works in Brazil to participate in this publication. The selection of these artists and artworks constitutes a group of people and works that are sensitive to the same themes that concern us at this Biennale.
Artistic and documentary photography, video, performance, digital collage, sculpture, and painting are the mediums used to promote a conversation about tangible or invisible barriers; the clashing between nature and construction; the divergences between the policies, planning, and the realities of housing, as well as the wounds resulting from projects carried out according to economic logics distant from the scale of the human being.
These critical works reveal a generation that considers the physical space as being indissociable from their work, and resorts to artistic practices to express their concerns. Writing this text just a few weeks before inaugurating the Brazilian Pavilion in Venice, we look at each of the more than people who believed in our idea and are extremely grateful for their confidence, certain that we have taken advantage of this opportunity to unleash a wave of discussion about architecture as an agent for transposing or revealing some of the pressing issues affecting our country and our profession.
We hope that this book will be the beginning, and not the end, of the conversation about our Walls of Air.
In the early 20th century, sociologist Georg Simmel famously defined the social character of the traveler as someone constantly in-between, near and far, whose main quality comes from outside of the place they occupy. Which walls are breached once immigration movements become part of a discipline often closed and self-referential? This chapter looks at the benefits of global practices—which historically are not strange to the profession in Brazil.
Three moments were of special interest: the large income of foreign professors during the implementation of the first architecture school in in Rio de Janeiro; the immigration of European professionals to South America during and after the great war years—the German Franz Heep; the Polish Victor Reif; and the Italians Lina Bo Bardi, Giancarlo Palanti and Gian Carlo Gasperini, are examples of this moment; and finally the period after the military dictatorship, when various architects and professors—like Vilanova Artigas—returned from exile bringing with them the most diverse set of references.
The movement of architecture students and professionals abroad, motivated by better opportunities of career development, recently grew in Brazil.
At an educational level, federal initiatives fostering study-abroad-programs through institutional partnerships between universities have been one of the main factors stimulating the flow of a skilled portion of the population outside of the country, especially in the past two decades. While the focus of the program was not directly related to the study of architecture, it is important to recognize its role in encouraging the enrollment of Brazilians students in institutions overseas.
Between and , Brazilian students went from the 11th to the 6th largest international presence in higher-education institutions in the United States. While Science without Borders continued to support graduate and postgraduate programs, the cost of its full implementation was said too high for the country, which was swept in an economic recession at the beginning of , as Claudio Haddad remarks in his interview, the program was not completely adjusted to the economic reality of Brazil.
In that sense, this chapter aims to understand the impact of these policies and trends on architecture and design professionals, presenting a quantified reading of the presence of Brazilian architects in cities around the world.
The information presented is a result of data sourcing within specialized institutions as well as an open data collection platform organized in the website developed for this exhibition. In her essay, Ana Luiza Nobre discusses the role of domestic architecture as fundamental to the influx of Brazilians into Portugal. The lines merge and disappear, at times suggesting the immaterial reality of the borders, at times suggesting alternative geographies. At the end, Brazil also becomes a product of the crossbreeding of experiences.
The map privileges the American continent and the Western portions of Europe, where the exchanges have been larger in number.
The spikes in these areas represent the number of Brazilian architecture students received by foreign universities between and International institutions are also listed along the circumference, where diagrams sort the number of incoming students by year. The year of is emphasized in red, marking the start of the Science without Borders program. In the Brazilian territory, each spike represents the number of registered and active architects in Brazilian cities, according to the information provided by the Brazilian National Council of Architecture and Urbanism CAU.
The corresponding diagram shows the ratio between male and female professionals in the cities registering the largest number of professionals. See Simmel, The Stranger. Available at: www. Accessed on: April 10, The contact with outstanding Brazilian architects in other geographies was made through recommendations by the network of collaborators of Walls of Air. The selection focused on professionals who approach the practice on multiple fronts and in a wide range of contexts: architects who are active in North America, Europe, Africa and Asia, in different fields—photography, research, curatorship, art and design.
On the contrary, practically all the architects talked about enrichment and opportunities for personal and professional growth. For them, living and working in a place that was different from their origin also allowed them to gain a new scope in their reflections and feelings in relation to Brazil.
Combining this with the knowledge related to their architectural training and their experiences in Brazil, the statements can provide us with insights regarding our role and goals as professionals. With a Brazilian essence that could never be set aside, each one of these collaborators briefly alludes to the significance their Brazilian background has for them.
While they are responsible for bringing small pieces of the country abroad, they are also pushed to go beyond the Brazilian specificities.
By broadening their horizons, they help lead ours to new corners of the planet. Besides our birthplace, there are places we adopt as our own. As an architect, this is an extraordinary experience. It has allowed me to concretely understand that each society creates its own spaces, the raw material of the architecture and the city.
More than another view of Brazil, this humanistic perspective has confirmed values and practices that I learned in my academic background and in my initial professional experiences, which I continued to develop and expand in other countries.
In the last two decades, my professional practice has been concentrated on education, research and artistic practice.
I teach design and history of architecture and the city, I write, design and organize exhibitions. The many years that I have dedicated to researching and writing about the life and work of architect Lina Bo Bardi have been my self-education on Brazil and on the broad significance of architecture as a cultural representation and a place for the practice of daily life.
Firstly, I moved to London in order to study with some of the architects I used to read about in my university library in Belo Horizonte.
Secondly, to my total surprise, I realized that I myself could have an international career in the context of practice, curating and teaching. My experience abroad enabled me to pursue the architecture I wanted to practice—experimental and innovative—while being independent minded.
My international experience enabled me to value both what Brazilian architecture is, and what it could be. In other words, my main lesson from living abroad is perhaps to invest in and investigate the near future despite the acute social problems in my home country. To dream about alternatives is not a luxury, but a necessity if we want to change our reality today. For many years I have been inspired both by Brazilian culture and its environmental challenges.
In our current work we have been inspired by siteian culture. One of our ongoing commissions is to design a Forest Research Centre in Bangladesh where we utilize lessons from the siteian environmental context translated into the global-warming-affected coast of our project site. If innovation is also an archaeological exercise, I am very happy to borrow a couple of dreams from the Rio Negro.
Why not? Brazilian modernists, as I was part of the Place onto a plate the icons of modern family of Olavo Redig de Campos, who architecture, add a model of the city exposed me to architecture. It was I decided to favelas, I came to work with inequality move to Japan, which was experiencing in the city, using my knowledge to help its economic bubble.
Living in Tokyo, those who have been excluded from I worked for some years in an architecture public policies, to encourage access to a firm. But I liked working with art and dignified dwelling, to quality architecture, slowly left architecture to be an artist. The years went international career that brought me to by, and to widen my horizons I moved to more than thirty countries.
In those years, New York. The distance from my country of with a certain frequency and continuity origin allowed me to reflect on my cultural in countries such as Bulgaria, Moldavia, background and to think about how my Cuba, Bolivia and Brazil, as an international worldview was constructed. I do not regret consultant. My identity and cultural base having left my country as a young man.
The foundations constructed in my interaction with the excluded population in Brazilian cities became a comparative advantage in my professional activity in other countries, helping me to contextualize and deepen my search for adequate solutions, in a constant exchange and learning process. After a period of four years in London, where I was a postgraduate student at the Architectural Association School of Architecture and worked as an architect in large firms, in I took up residence in Hong Kong, which I consider the capital of Asia.
It is here that large projects and creativity have been applied to important issues in the big contemporary cities, such as infrastructure, urban mobility and accessibility. A combination of economic power, large investments in infrastructure, demographic pressure and high density have created an environment conducive to urban development and to the appetite for carrying out large projects.
These are the so-called transport oriented mixed-use developments TODs. Mauro Resnitzky, Hong Kong, China Planned and designed with creativity, adapted to the urban context and pertinent to the real estate situation, these developments become true landmarks in the city, attractive destinations for work, leisure, housing and—why not? I have been active in our firm, Girimun Architects, since , designing projects that promote a blending of scales, requiring solutions of urbanism, urban design, architecture, interiors, graphic design, signage and branding, all in a single design and at the same time.
In recent years, we have been seeking to collaborate on projects in Brazil, understanding that our experience is extremely relevant in the search for ideas and solutions for the large Brazilian urban centers.