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O PAINEL DE AZULEJO CRIADO POR CÂNDIDO PORTINARI PARA A CAPELA DA PAMPULHA: ESPECIFICIDADES DA ARQUITETURA MODERNA BRASILEIRA
Full text linkThe Lusophone infl uence on Brazilian colonial religious architecture, mainly during the 18th century, can be detected in the solution given to the architectures and mainly in the ornamental choices that aimed to transform the austere internal atmosphere of hundreds of temples throughout the territory, highlighting the use of painting, carving and tiles. Echoes of the features of this past reached the 20th century, reinterpreted by modern Brazilian architecture, when tile panels were used to establish conections with the local architectural legacy. One of these examples are the tile panels created by Cândido Portinari to cover the Capela Curial de São Francisco de Assis (Belo Horizonte), designed by Oscar Niemeyer. In this sense, this article aims to refl ect upon the application of ceramic material in that temple, from modern concepts that encouraged the use of items inspired by local architectural colonial heritage.A influência lusófona na arquitetura religiosa colonial luso-brasileira, principalmente durante o século XVIII, pode ser detectada na solução conferida às edifi cações erguidas e, sobretudo, nas escolhas ornamentais que visaram transformar o austero ambiente interno de centenas de templos erguidos em todo território, destacando-se o uso da pintura, talha dourada e azulejaria. Refl exos das feições desse tempo chegaram ao século XX, reinterpretados pela arquitetura moderna brasileira, quando painéis de azulejos foram utilizados para estabelecer relações com o citado passado arquitetônico local. Encontram-se nesse quadro os painéis de azulejo criados por Cândido Portinari para forrar a Capela Curial de São Francisco de Assis (Belo Horizonte), projetada por Oscar Niemeyer. Nesse sentido, o presente artigo tem como objetivo analisar o uso do material cerâmico no referido templo, a partir da existência de conceitos modernos que incentivavam o emprego de itens inspirados no patrimônio colonial arquitetônico local
A ÁGUA E A ARQUITETURA NO HOSPITAL REAL DE TODOS-OS-SANTOS, LISBOA (SÉCULOS XVI-XVIII): AS ESTRUTURAS CLAUSTRAIS NO REGISTO ARQUEOLÓGICO
Full text linkBuilt from 1492 onwards, the Royal Hospital of All Saints became a model in public health and assistance. Its innovative concept is displayed through the adoption of European Renaissance architectonic proposals, and several other of its characteristics, all together bringing new habits to day-to-day life. The plan of the complex had the shape of a cross, with four yards on the corners, in which four wells provided water supply during the three century history of the building complex.This paper analysis the hydraulic structures of the Hospital revealed by the excavations in Praça da Figueira in 1960 and in 1999-2001, and cope the archaeological data with the different architectonic phases recognized through the project «Hospital Real de Todos-os-Santos: a Cidade e a Saúde» research, considering their potential to explore functions and behaviours of the surrounding areas.Fundado em 1492, o Hospital Real de Todos-os-Santos revelou-se paradigmático em Portugal no que à assistência diz respeito. Inovador nos mais diversos campos merece especial atenção a inspiração arquitetónica renascentista, que se traduziu em novos hábitos no quotidiano hospitalar. De planta cruciforme e integrando quatro pátios, a água esteve presente através de, pelo menos, quatro estruturas hidráulicas/poços, cada uma afecta a um claustro e, consequentemente, às suas dependências térreas, no decorrer dos quase três séculos de funcionamento deste grande complexo público. Este texto analisa as estruturas hidráulicas do Hospital Real de Todos-os-Santos descobertas aquando das intervenções arqueológicas na Praça da Figueira na década de 60 e em 1999-2001, integradas nos vários momentos de reformulação arquitetónica do edifício, estudados no âmbito do projeto «Hospital Real de Todos-os-Santos: a Cidade e a Saúde». Além de elemento vital para o seu funcionamento, estas estruturas são um espelho de hábitos e atribuições funcionais dos espaços envolventes
THE METAMORPHOSIS OF SELF(IE)-PORTRAIT: BETWEEN THE SUBLIME AND THE BANAL
Full text linkThe analogy between the myth of Narcissus, referred to as the intrinsic symbol of painting by Leon Battista Alberti; the typological value of self-portrait as an ontological and statutory reference; its value while metamorphosis of reality; and the self-representative phenomenon that Selfi e translates – all this has to be established and requires due consideration. When dwelling on the contemporary Selfi e we need to consider also the salvifi c dimension of this kind of self-representation mechanisms that have always been there. The value of image while self-awareness mechanism compels us to question the fi eld of action where it is far more active – on social media. Its immanence is a true narcissistic affl iction. The intrinsic and immediate value of image thus overlaps sign and word. The mechanisms of self-contemplation thus produced translate into a clear ontological impoverishment of reality. The Selfi e does not prevent the subject’s Kafkian metamorphosis, but renders reality vulgar, making it acceptable through both similarity and integration. Self-portrait and Selfi e are thus the ancestral mechanisms of self-preservation. Its origin derives from narcissistic mechanisms that require a continuous desire to stand out socially. However, while the pictorial self-portrait translates into epistemic valuation of its author, Selfi e delights in the vulgarization of the repetitive and banal gesture.The analogy between the myth of Narcissus, referred to as the intrinsic symbol of painting by Leon Battista Alberti; the typological value of self-portrait as an ontological and statutory reference; its value while metamorphosis of reality; and the self-representative phenomenon that Selfi e translates – all this has to be established and requires due consideration. When dwelling on the contemporary Selfi e we need to consider also the salvifi c dimension of this kind of self-representation mechanisms that have always been there. The value of image while self-awareness mechanism compels us to question the fi eld of action where it is far more active – on social media. Its immanence is a true narcissistic affl iction. The intrinsic and immediate value of image thus overlaps sign and word. The mechanisms of self-contemplation thus produced translate into a clear ontological impoverishment of reality. The Selfi e does not prevent the subject’s Kafkian metamorphosis, but renders reality vulgar, making it acceptable through both similarity and integration. Self-portrait and Selfi e are thus the ancestral mechanisms of self-preservation. Its origin derives from narcissistic mechanisms that require a continuous desire to stand out socially. However, while the pictorial self-portrait translates into epistemic valuation of its author, Selfi e delights in the vulgarization of the repetitive and banal gesture
ENTRE EUCALIPTOS E CONCRETO ARMADO: A MODERNIDADE ESTÉTICO-FUNCIONAL DO SANATÓRIO BARROS BARRETO, BELÉM-PARÁ-BRASIL
Full text linkThis work is part of the study of health heritage in Pará and aims to analyze aesthetic-functional elements of the former Barros Barreto Sanatorium (now João de Barros Barreto University Hospital). This hospital was produced in a period in which tuberculosis caused high mortality rates in the country in which the modern architecture was the right pattern. Through bibliographic and documentary researches, the architectural elements of the old sanatorium are qualitatively approached, making a parallel with elements present in modern health architecture in Brazil, as well as the strategy of building the sanatorium far from the urban center, located in the Guamá neighborhood. Furthermore, this analysis of elements shows that they followed functional principles, moving away from the concern with aesthetics and currently, due to the needs present in the Hospital, it is noticeable in the lack of care in maintaining original uses of the building environments and in forgetting the old park of eucalyptus.Este trabalho integra-se aos estudos sobre o patrimônio da saúde no Pará e tem o intuito de analisar elementos estético-funcionais do antigo Sanatório Barros Barreto (atual Hospital Universitário João de Barros Barreto). Este hospital foi produzido em um período em que a tuberculose causava altos índices de mortalidade no país, como parte das políticas públicas para controle da doença em que a Arquitetura Moderna era o padrão adequado. Através das pesquisas bibliográfi ca e documental aborda-se de forma qualitativa elementos arquitetônicos do antigo sanatório, fazendo-se um paralelo com elementos presentes na arquitetura moderna da saúde no Brasil, bem como destaca-se a estratégia de construir o sanatório afastado do centro urbano, devido às políticas de isolamento, em uma área considerada aprazível e arborizada, no bairro do Guamá. Ademais, esta análise de elementos demonstra que seguiam princípios funcionais, além de uma reprodução em massa, afastando-se da preocupação com a estética e atualmente, devido as necessidades contemporâneas presentes no Hospital, é perceptível a difi culdade em conciliar os usos originais dos ambientes da edifi cação, como demonstra a modifi cação e extinção das antigas varandas para inserção de banheiros nas enfermarias e o esquecimento do antigo parque dos eucaliptos
TESTEMUNHOS FÍSICOS DE ESTRUTURAS ASSISTENCIAIS PRESENTES NAS MEMÓRIAS PAROQUIAIS DE 1758
Full text linkThis study is based exclusively on the very important documentary source of the Parish Memories, resulting from the inquiry ordered in 1758 by Marquês de Pombal. A systematic paleographic survey and transcription of all records referring to hospitals and Mercies was carried out, and the testimonies of the 4073 Parishes of the country were reviewed one by one. The intended testimonies were found in 398 parishes, indicating that there were hospitals and/or mercies and/or hostels or other assistance establishments, that offers many and very interesting kinds of information for this study in general, as well as it may provide partial studies in multiple fields of the same theme.Este estudo assenta de modo exclusivo na importante fonte documental que são as Memórias Paroquiais que resultaram do inquérito ordenado em 1758 pelo Marquês de Pombal. Procedeu-se ao levantamento e transcrição paleográfica de todos os registos referentes a hospitais, Misericórdias e outros estabelecimentos assistenciais, contidos nos depoimentos respeitantes às 4073 Freguesias do país, sendo encontrados os pretendidos registos em 398 Freguesias, com indicação de localização de hospitais e/ou Misericórdias e/ou Albergarias ou outros estabelecimentos de assistência. Na maior parte dos casos os mesmos possuem informações adicionais, que se revelaram do maior interesse para este estudo, não só em termos panorâmicos, mas proporcionando estudos parcelares em âmbitos diversos da mesma temática
A MODERNIDADE DA ARQUITETURA DO LEPROSÁRIO SÃO ROQUE (PIRAQUARA, PARANÁ, BRASIL)
Full text linkThe article aims to contextualize the architectural features that should be present in a leper colony in the early twentieth century and show the complete requirement compliance on the conception and construction of Leprosarium São Roque, in Piraquara (PR). To this end, it highlights the national health legislation on the subject and the architectural response to these hygienist impositions. Then, it goes back to Paraná and the trajectory of leprosy coping, form de mid-1890s until 1926, with the inauguration of São Roque. Finally, based on government messages, journal articles, architectural drawings and photographs, it analyses the characteristics of its architectural complex and emphasizes the full compliance with the requirements and the spatial solutions for the treatment of leprosy patients.O texto busca contextualizar as características arquitetônicas que deveriam estar presentes em uma colônia de leprosos no início do século XX e mostrar o pleno atendimento na concepção e construção do Leprosário São Roque, em Piraquara (PR). Para isso, destaca a legislação sanitária nacional sobre o assunto e a resposta arquitetônica frente a estas imposições higienistas. Em seguida, volta-se para o Paraná e a trajetória de enfrentamento da lepra desde meados da década de 1890 até 1926, com a inauguração do São Roque. Por fim, tendo como referências mensagens governamentais, artigos em periódicos, desenhos arquitetônicos e fotografias, analisa as características de seu conjunto arquitetônico e ressalta o pleno atendimento às demandas e às soluções espaciais vigentes para o tratamento dos portadores de lepra
RECENSÃO CRÍTICA AO CAPÍTULO DE LIVRO ‘From an Inventory to a Heritage Information System’ de Vasco Martins Costa, 2020
Full text linkIDEOLOGY AND MEMORY IN FABIO MAURI’S PERFORMANCES AND WRITINGS FROM 1970S: AN EXAMPLE OF INSTITUTIONAL CRITIQUE IN ITALY
Full text linkThis article analyses a set of performances and installations created by the Italian artist Fabio Mauri (1926- -2009) in connection with his theoretical writings and anchors them to the international artistic concern of the time: institutional critique. Eight of Mauri’s performances from the 1970s are documented. This study centres on the fi rst three chronologically – Che cosa è il fascismo, Esercizi spirituali and Ebrea, all dated 1971 – which better exemplify the theme on which Mauri focused throughout this period. As theoretical texts, photographs and objects reveal, these eight performances and installations all involve the critique of ideology as institution. This practice shares many similarities with institutional critique, that is, the international and systematic inquiry that aims at subverting the roles of the art market and artistic institutions. This paper offers a novel interpretation of Mauri’s work as an example of institutional critique in Italy.This article analyses a set of performances and installations created by the Italian artist Fabio Mauri (1926- -2009) in connection with his theoretical writings and anchors them to the international artistic concern of the time: institutional critique. Eight of Mauri’s performances from the 1970s are documented. This study centres on the fi rst three chronologically – Che cosa è il fascismo, Esercizi spirituali and Ebrea, all dated 1971 – which better exemplify the theme on which Mauri focused throughout this period. As theoretical texts, photographs and objects reveal, these eight performances and installations all involve the critique of ideology as institution. This practice shares many similarities with institutional critique, that is, the international and systematic inquiry that aims at subverting the roles of the art market and artistic institutions. This paper offers a novel interpretation of Mauri’s work as an example of institutional critique in Italy