5,484 research outputs found
A requalificação sensorial do Palácio Almada-Carvalhais
No full textDissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura, apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.O tema dos aspectos sensoriais no âmbito da arquitectura deriva do papel que esta tem enquanto espaço que integra e interage com o Homem, exercendo influência sobre ele tanto ao nível físico como psicológico. A inclusão de todos os sentidos na apreensão da arquitectura promove experiências mais ricas e diversificadas levando a um maior envolvimento do Homem no espaço, assim fomentando a consciência do seu próprio papel no mundo. Compreende-se deste modo a relevância dos aspetos relacionados com a percepção sensorial da arquitectura, procurando este trabalho desenvolver a sensibilidade do arquitecto para a apreensão daquilo que o rodeia, dando-lhe a conhecer os meios e ferramentas que entram em jogo nestes processos, bem como as suas implicações, de modo a gerar um entendimento que lhe permita desenvolver estratégias para a aplicação destes princípios à prática. Tal foi o que se procurou fazer neste caso, na reabilitação do quarteirão do palácio Almada-Carvalhais, na zona da Boavista, em Lisboa.
PALAVRAS-CHAVE:
Percepção . Sentidos . Som . Requalificação . Palácio Almada-Carvalhais
REABILITAR COM SENTIDO(S)
A Requalificação Sensorial do Palácio Almada-Carvalhais
ANDREIA FILIPA FERNANDES LOPES
ABSTRACT
The subject of the sensory aspects in architecture results from its role as space that integrates and interacts with man, exerting influence on him both physically and psychologically. The inclusion of all the senses in the apprehension of architecture promotes richer and more diverse experiences leading to a greater sense of involvement of man in space, and thus promoting awareness of his role in the world. In this way we understand the relevance of the aspects related to the perception of architecture, seeking in this work the development of the architect’s sensitivity to what surrounds him, making him aware of the ways and tools that come into play in these processes, as well as their implications, in order to generate an understanding that will allow him to develop strategies for applying these principles to practice. That was what was sought to do in the case of the rehabilitation of the block that includes the Almada-Carvalhais palace, located in the Boavista area of Lisbon.N/
Equipamiento para un parque acuático_terrestre en Almada, Lisboa [Hojas Resumen]
No full textEquipamiento para un parque acuático_terrestre en Almada, Lisbo
The Case of José de Almada Negreiros
No full textUIDB/00417/2020
UIDP/00417/2020The leading Portuguese modernist José de Almada Negreiros (1893–1970) often interacted with cinema and was particularly captivated by animation. While Almada’s stay in Madrid – from 1927 to 1932 – was marked by a magic lantern show and echoes of cut-out animation in his visual works, his presentation on Disney at the premiere of Snow White and the Seven Dwarfs in Lisbon is a milestone of the reception of animation in Portugal. Drawing upon current art historiographical debates, this article addresses the case of Almada as a way to reconstruct the history of the reception of animation in peripheral countries. Simultaneously, it highlights the importance of interdisciplinarity, the intertwinement between history and theory, as well as the support of archival research.publishersversionpublishe
A requalificação sensorial do Palácio Almada-Carvalhais
No full textDissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura, apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.O tema dos aspectos sensoriais no âmbito da arquitectura deriva do papel que esta tem enquanto espaço que integra e interage com o Homem, exercendo influência sobre ele tanto ao nível físico como psicológico. A inclusão de todos os sentidos na apreensão da arquitectura promove experiências mais ricas e diversificadas levando a um maior envolvimento do Homem no espaço, assim fomentando a consciência do seu próprio papel no mundo. Compreende-se deste modo a relevância dos aspetos relacionados com a percepção sensorial da arquitectura, procurando este trabalho desenvolver a sensibilidade do arquitecto para a apreensão daquilo que o rodeia, dando-lhe a conhecer os meios e ferramentas que entram em jogo nestes processos, bem como as suas implicações, de modo a gerar um entendimento que lhe permita desenvolver estratégias para a aplicação destes princípios à prática. Tal foi o que se procurou fazer neste caso, na reabilitação do quarteirão do palácio Almada-Carvalhais, na zona da Boavista, em Lisboa.
PALAVRAS-CHAVE:
Percepção . Sentidos . Som . Requalificação . Palácio Almada-Carvalhais
REABILITAR COM SENTIDO(S)
A Requalificação Sensorial do Palácio Almada-Carvalhais
ANDREIA FILIPA FERNANDES LOPES
ABSTRACT
The subject of the sensory aspects in architecture results from its role as space that integrates and interacts with man, exerting influence on him both physically and psychologically. The inclusion of all the senses in the apprehension of architecture promotes richer and more diverse experiences leading to a greater sense of involvement of man in space, and thus promoting awareness of his role in the world. In this way we understand the relevance of the aspects related to the perception of architecture, seeking in this work the development of the architect’s sensitivity to what surrounds him, making him aware of the ways and tools that come into play in these processes, as well as their implications, in order to generate an understanding that will allow him to develop strategies for applying these principles to practice. That was what was sought to do in the case of the rehabilitation of the block that includes the Almada-Carvalhais palace, located in the Boavista area of Lisbon.N/
A requalificação sensorial do Palácio Almada-Carvalhais
No full textDissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura, apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.O tema dos aspectos sensoriais no âmbito da arquitectura deriva do papel que esta tem enquanto espaço que integra e interage com o Homem, exercendo influência sobre ele tanto ao nível físico como psicológico. A inclusão de todos os sentidos na apreensão da arquitectura promove experiências mais ricas e diversificadas levando a um maior envolvimento do Homem no espaço, assim fomentando a consciência do seu próprio papel no mundo. Compreende-se deste modo a relevância dos aspetos relacionados com a percepção sensorial da arquitectura, procurando este trabalho desenvolver a sensibilidade do arquitecto para a apreensão daquilo que o rodeia, dando-lhe a conhecer os meios e ferramentas que entram em jogo nestes processos, bem como as suas implicações, de modo a gerar um entendimento que lhe permita desenvolver estratégias para a aplicação destes princípios à prática. Tal foi o que se procurou fazer neste caso, na reabilitação do quarteirão do palácio Almada-Carvalhais, na zona da Boavista, em Lisboa.
PALAVRAS-CHAVE:
Percepção . Sentidos . Som . Requalificação . Palácio Almada-Carvalhais
REABILITAR COM SENTIDO(S)
A Requalificação Sensorial do Palácio Almada-Carvalhais
ANDREIA FILIPA FERNANDES LOPES
ABSTRACT
The subject of the sensory aspects in architecture results from its role as space that integrates and interacts with man, exerting influence on him both physically and psychologically. The inclusion of all the senses in the apprehension of architecture promotes richer and more diverse experiences leading to a greater sense of involvement of man in space, and thus promoting awareness of his role in the world. In this way we understand the relevance of the aspects related to the perception of architecture, seeking in this work the development of the architect’s sensitivity to what surrounds him, making him aware of the ways and tools that come into play in these processes, as well as their implications, in order to generate an understanding that will allow him to develop strategies for applying these principles to practice. That was what was sought to do in the case of the rehabilitation of the block that includes the Almada-Carvalhais palace, located in the Boavista area of Lisbon.N/
De materialidades y afectos perdidos en la literatura de Selva Almada
No full textInternational audienceLa literatura de la escritora argentina Selva Almada (Argentina, 1973-) opta por los caminos de la expresión local y la inscripción en lo que la literatura argentina contemporánea reconoce como literatura de provincia. Nuestro artículo propone analizar las modalidades de este localismo en la escritura de Almada y destacar el registro realista de un universo narrativo “zonal” que recoge historias de abandonos, trágicos destinos y faits divers , sin excluir modalidades narrativas asociadas al registro de la investigación periodística, la memoria personal y la crónica social; a un juego de voces reunidas bajo la tonalidad de la oralidad “criolla”; a huellas populares y marcas literarias que ponen en evidencia la problemática de lo heredado y de la memoria afectiva. Almada sumerge a sus personajes en la materialidad más inmediata e insustancial de las rutinas cotidianas; en una existencia rural y monótona; en atmósferas familiares turbulentas; en recuerdos fragmentados materializados en objetos. Nos interesa interrogar entonces en qué consiste el realismo de las historias de Almada (el realismo de Almada) tratando de estudiar al mismo tiempo la dimensión subjetiva de su literatura, esto es: cómo lo mínimo, lo desechado, lo descartado y los afectos perdidos transitan su escritura. El artículo se centrará en la narrativa completa de Almada: las novelas El viento que arrasa (2012), Ladrilleros (2013), No es un río (2021); los cuentos de El desapego es una manera de querernos (2015); y el relato de investigación con visos de crónica social, Chicas muertas (2015)
Violence, memory and gender. Gabriela Cabezón Cámara, Marta Dillon, Selva Almada, Luciana de Mello, Belén López Peiró
No full textAvanzada la primera década del 2000 en efecto, va visualizándose la conformación de una zona narrativa que ligada a la inmediatez del presente de su enunciación (el conjunto de fuerzas sociales y discursivas en torno a cuestiones de género y diversidad) va tejiendo nudos entre los imaginarios de violencia patriarcal desplegados en los textos y el universo de hechos y relatos setentistas, entre perspectiva de género y terrorismo de estado. Recorremos aquí en algunas variantes de narrativas testimoniales (ficcionales y de carácter autobiográfico) estos cruces y articulaciones que, ya presentes en Le viste la cara a Dios (2011) de Gabriela Cabezón Cámara, se replantean de otros modos en Aparecida (2015) de Marta Dillon y Chicas muertas (2014) de Selva Almada y pueden rastrearse también en las nuevas hablas del abuso representadas por Mandinga de amor (2016) de Luciana De Mello y Porqué volvías cada verano (2018) de Belén López Peiró.As the first decade of the 2000s progressed, a new narrative territory began to take shape in Argentina that was closely tied to the circumstances in which it arose—the various social and discursive movements around gender and diversity. This new body of literature weaves together imaginaries of patriarchal violence with the universe of events of the late 1970s and Argentina’s most recent dictatorship, through accounts that bring together state terrorism and the gender perspective. Focusing on several examples of fictional and autobiographical testimonial narratives, this study explores how these worlds intersect and overlap in Gabriela Cabezón Cámara’s Le viste la cara a Dios (2011), are reconfigured in Aparecida (2015) by Marta Dillon and Chicas muertas (2014) by Selva Almada, and can also be traced in new writing on abuse, such as Luciana De Mello’s Mandinga de amor (2017) and Belén López Peiró’s Porqué volvías cada verano (2018).Facultad de Humanidades y Ciencias de la Educació
Violencia, memoria y género. Gabriela Cabezón Cámara, Marta Dillon, Selva Almada, Luciana de Mello, Belén López Peiró
No full textAs the first decade of the 2000s progressed, a new narrative territory began to take shape in Argentina that was closely tied to the circumstances in which it arose””the various social and discursive movements around gender and diversity. This new body of literature weaves together imaginaries of patriarchal violence with the universe of events of the late 1970s and Argentina’s most recent dictatorship, through accounts that bring together state terrorism and the gender perspective. Focusing on several examples of fictional and autobiographical testimonial narratives, this study explores how these worlds intersect and overlap in Gabriela Cabezón Cámara’s Le viste la cara a Dios (2011), are reconfigured in Aparecida (2015) by Marta Dillon and Chicas muertas (2014) by Selva Almada, and can also be traced in new writing on abuse, such as Luciana De Mello’s Mandinga de amor (2017) and Belén López Peiró’s Porqué volvías cada verano (2018)Avanzada la primera década del 2000 en efecto, va visualizándose la conformación de una zona narrativa que ligada a la inmediatez del presente de su enunciación (el conjunto de fuerzas sociales y discursivas en torno a cuestiones de género y diversidad) va tejiendo nudos entre los imaginarios de violencia patriarcal desplegados en los textos y el universo de hechos y relatos setentistas, entre perspectiva de género y terrorismo de estado. Recorremos aquí en algunas variantes de narrativas testimoniales (ficcionales y de carácter autobiográfico) estos cruces y articulaciones que, ya presentes en Le viste la cara a Dios (2011) de Gabriela Cabezón Cámara, se replantean de otros modos en Aparecida (2015) de Marta Dillon y Chicas muertas (2014) de Selva Almada y pueden rastrearse también en las nuevas hablas del abuso representadas por Mandinga de amor (2016) de Luciana De Mello y Porqué volvías cada verano (2018) de Belén López Peiró
Stages for the More Sustainable Farm
No full textCurrently, agricultural farm units are faced with a double and most times contradictory challenge, in order to be successful: on the one hand the invested capital has to be profitable and the economic performance has to be maximised. On the other hand, given the socio-environmental situation, it is necessary to preserve and to protect the environment and natural resources. Given the potential conflict of the two aims, since the satisfaction of one implies the underperformance of the other (and vice versa), the question then is: which is the solution to choose? We intend, in this work, to formulate a farm plan with the purpose of reconciling the criteria of environmental sustainability with that of economic competitiveness. For this achievement we proceed to the comparative study of sustainability of different groups of farms identified in the study area (first evaluation cycle) through MESMIS (“Marco para la Evaluación de Sistemas de Manejo de Recursos Naturales Mediante Indicadores de Sustentabilidad” - Framework for Evaluation of Natural-Resource Systems Handling through Sustainability Indicators) methodology, that allowed to select the more sustainable group of farms. Based on the found potentialities and weakness on these production systems, we stepped to the planning of a production unit of bovine meat, which obeys simultaneously to economic and environmental objectives, using Multicriteria Decision. We finished the work with the sustainability evaluation between groups of farms identified previously and the planned farms (second evaluation cycle), based, again, in the MESMIS methodology, to confirm (or not) the greatest sustainability of the last ones. Analyses of the results allow us to confirm the greatest relative sustainability of the planned farm, for the diverse traced scenarios.Decision taking, planning, sustainability, Environmental Economics and Policy, Farm Management,
Parole d'artiste : Marta Cuscunà
No full textInternational audienceModeration of the interview with Marta Cuscunà, an Italian performer, director, puppeteer and author. In 2009, she was awarded the Premio Scenario per Ustica for E bello vivere liberi!, first show of a trilogy on female resistance, followed by La semplicità ingannata (2012) and Sorry, boys (2015). These three texts are published in Resistenze femminili (Udine: Forum, 2019). In 2018 she created Il canto della caduta. Earthbound (2021) is her last devised show, which brings in the themes of ecofeminism, taking cues from the theories of Donna Haraway and Bruno Latour. In 2021 she became associate artist at the Piccolo Teatro in Milan. In 2023, she is guest of honor at the 11th Biennale internationale des arts de la marionette in Paris. She was awarded the prizes Rete Critica (2017), Premio della Critica – ANCT (2018) and Premio Hystrio - Altre Muse (2019).Animation de la discussion avec Marta Cuscunà, performeuse, metteuse en scène, marionnettiste et autrice italienne. En 2009, elle a remporté le prix Premio Scenario per Ustica pour È bello vivere liberi !, premier spectacle d’une trilogie sur les résistances féminines, suivi par La semplicità ingannata (2012) et Sorry, boys (2015). Ces trois textes ont été réunis dans Resistenze femminili (Udine : Forum, 2019). En 2018, elle a créé Il canto della caduta. Son dernier spectacle, Earthbound (2021), traite de l’écoféminisme en s’inspirant des théories de Donna Haraway et de Bruno Latour. En 2021, elle devient artiste associée au Piccolo Teatro de Milan. En 2023, elle est invitée d’honneur à la Biennale Internationale des Arts de la Marionnette à Paris. Elle a obtenu les prix Premio Rete Critica (2017), Premio della Critica – ANCT (2018) et Premio Hystrio - Altre Muse (2019)
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