139,271 research outputs found
EDUARDO SOUTO DE MOURA. UN "DIALOGO ANTICO" TRA MATERIA, TECNICA E PROGETTO
No full textL’impegno e la precisione che Eduardo Souto de Moura dedica a ogni occasione di dialogo con i luoghi del suo operare, conferma la sua adesione alla concretezza e la sua aspirazione alla verità. L’architettura priva di quelle fondamenta che la ancorano alla realtà e alla specificità dei luoghi, solo pensata e discussa in termini di potenzialità e astrazione, cieca e sorda alle suggestioni dell’ambiente, non esiste. Non è Architettura. Non è, almeno, l’Architettura di Souto de Moura, che è capace, invece, di trasformare le occasioni di dialogo con il contesto in accese discussioni, tra pensiero e realtà, tra desiderio e opportunità, tra segno progettuale e atto costruttivo; dispute, tra l’immagine primitiva che si forma nella mente – un dettaglio, un materiale, uno spazio – e la sua effettiva realizzabilità; confronti, che si annullano con la presa di coscienza delle immense opportunità offerte al progetto dal contatto con il reale; e il progetto, come in un film, esegue un montaggio e una verifica delle immagini, suggestioni e sequenze che l’occhio percepisce e che la grande poesia di Herberto Helder sottende ed esalta nel suo poema “Memoria Montagem”, uno dei grandi riferimenti del maestro portoghese. Questo metodo, che mette al vaglio le ipotesi e le cala nei luoghi, è applicato indistintamente alle varie scale e ai diversi ambiti di lavoro, alle questioni di composizione volumetrica, al sistema distributivo, a quello tecnologico e impiantistico, alle scelte figurative e materiche. Esso si risolve in una conversazione continua, eterna, un dialogo antico, tra l’architetto – ogni architetto, di ogni tempo e di ogni luogo – e gli spazi in cui egli opera, un dialogo che non ha principio né fine, che si ripete sempre uguale da millenni, che pone e ripone le stesse domande e, alla fine, riceve le stesse risposte. Il testo, che scaturisce dal dialogo continuo tra l'autrice e l'architetto Souto de Moura sui alcuni temi teorici e pratici del "fare architettura" nella contemporaneità,, orienta l'attenzione verso l'aspetto "materico e tecnologico" che trova, nei progetti dell'architetto portoghese, un importante canale espressivo anche in termini figurativi.The commitment and precision Eduardo Souto de Moura delivers in every dialogue opportunity with the places of his work confirms his bonds to concreteness and his ambition to truth. Architecture not founded on bases linked to reality and to place specificity; architecture as a mere result of debate and thinking on abstraction, does not exist. It is no Architecture. It isn’t Souto de Moura’s Architecture, which instead is able to transform the opportunities of establishing a dialogue with the context into fervid discussions between thinking and reality, between desire and possibility, between the marks of design and the act of bulding; into discussions between the primitive image forming in the architect’s min – a detais, a material, a space – and its actual feasibility; discussions that are meant to resolve themselves into the awareness of the limitless possibilities given to the project bt the contact with reality. The project, as in a movie, performs then an editing and a test of the many images, suggestions and sequences the eye senses; the same as in Herberto Helder’s poem “Memoria Montagem”, one of the most relevant references of the portuguese master architect.
This method of evaluating the hypothesis – impressions, opinions or even a sort of architectural schemes in progress – and lowering them into the sites, is implemented indifferently at several scales and several programs; at the issues of volumetric composition, at the level of both technology and plants; at the figurative and material options. It is resumed in a continuous and eternal conversation, in an ancient dialogue between the architect – every architect, of any time and place – and the spaces the architect works into; a dialogue having no beginning nor ending, that keeps happening in the centuries always in the same way, asking again and again the same questions, getting, at the end, always the same anwers. The text, which is the result of an ongoing dialogue between the author and the architect Souto de Moura on certain theoretical and practical themes of "making architecture" in the contemporary world, focuses attention on the "material and technological" aspect, which finds an important channel of expression in the Portuguese architect's projects, also in figurative terms
To students
No full textThe text introduces the book on the Eduardo Souto de Moura profile. The book is a small manual about the "making of architecture", dedicated to the project scholars and practitioners. The text contained here in tells of the strategies outline by Eduardo Souto de Moura, with are geared to solving practical design - and construction - related problems, while expounding on his building' relationships with existing structure
SOUTO DE MOURA, POLITECNICO
No full textIl testo introduce l'attività di Eduardo Souto de Moura in ambito universitario, presso il politecnico di Milano, dove insegna dal 2014. L'impegno professionale e progettuale dell'architetto internazionale, premiato con il Piranesi Prix de Rome 2017, si traduce, nella scuola, in una partecipazione etica e responsabile a un progetto formativo di alto profilo, che coinvolge in modo intensivo docenti e studenti in esercizi di progettazione complessi, che mettono in relazione antico e nuovo, storia e progetto
EDUARDO SOUTO DE MOURA, POLITECNICO
No full textIl testo inquadra il profilo didattico dell'architetto portoghese Eduardo Souto de Moura, chiamato a svolgere attività universitaria presso il Politecnico di Milano dal 2014 - Polo di Mantova , introducendo brevemente il suo metodo di lavoro e il "progetto pedagogico" elaborato per il Laboratorio di Progettazione architettonica che tiene da alcuni anni con l'autore del contributo
O MURO E A JANELA
No full text“Il muro e la finestra” sono due tra gli elementi fondativi di millenni di storia della costruzione, la cui combinazione reciproca potrebbe essere pensata come la matrice dello stesso progetto di architettura, nella sua complessità e nella sua forma più astratta ed essenziale. Nell’opera di Eduardo Souto de Moura questi elementi rappresentano materia di ricerca continua oltre che di forte coinvolgimento emotivo.Il testo rpesenta alcuni progetti particolarmente emblematici, realizzati dall'architetto portoghese nella sua carriera ultra trentennale
EDUARDO SOUTO DE MOURA. ARCHITETTURA SULLA STORIA
No full textIl volume, che accompagna la mostra "Eduardo Souto de Moura. Architettura sulla Storia", allestita nella Sala del Palazzo della Ragione a Mantova (6 maggio-30 giugno 2022), curata da B. Bogoni e N. Graça Moura, presenta il lavoro dell'architetto portoghese sul tema della relazione tra Progetto e Storia. Un testo introduttivo chiarisce il filo conduttore dell'opera, che si articola in testi, schizzi e fotografie originali
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Eduardo Souto de Moura - Nel "Laboratorio della Storia"
No full textAll'interno del catalogo realizzato in occasione della mostra "Eduardo Souto de Moura. Architettura sulla Storia", curata da Barbara Bogoni presso il Palazzo della Ragione di Mantova (6 maggio - 20 giugno 2022), il testo propone alcune considerazioni sulla relazione che l'architetto elabora con il progetto del museo, sviluppando un pensiero critico distintivo sul presente di questa istituzione e sul suo ruolo nelle città contemporanee
Dispelling the Myths Behind First-author Citation Counts
No full textWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
Caraguata onca Moura, sp. nov.
No full textCaraguata onca Moura, sp. nov. (Figs 9–13) Types. Holotype male, BRAZIL, state of Rio Grande do Sul, Itaúba, 07.IV. 1978, H. Bischoff col., MCN 27212 (MCNZ). Paratype female, ARGENTINA, Province of Chaco, Resistencia, XI. 1935 (MLPA). Description. Measurements, respectively male/female: body length, 5.9 / 6.9 mm; elytral length 4.5 / 5.6 mm; humeral width 2.3 / 2.7 mm. Head surface rugosely punctate, with short hairs sparsely distributed; antennal tubercles weakly developed, separated by longitudinal sulcus that reaches base of subtriangular clypeus; a weakly developed tubercle present above each antennal tubercle, close to superior internal margin of eye. Eyes globose, small, greatest diameter subequal to length of gena. Labrum yellow, shiny, slightly emarginate medially, with four hairs directed toward ventral margin. Insertion of each antenna positioned at level of inferior portion of the eyes. Interocular distance approximately three times as great as space between antennal insertions. Antennae black, except for yellowtestaceous base and the ventral face of the scape, pedicel, and base and ventral basal half of antennomere III (in paratype ♀, also yellow-testaceous on ventral face of X and XI). Hairs sparsely distributed on first four antennomeres and, beginning with antennomere V, pubescence short and dense, interspersed with longer, erect hairs. Scape somewhat dilated towards apex, twice as long as pedicel; antennomere III longest; antennomere IV slightly longer than the V; antennomeres VI to X subequal in length with V, mildly enlarged in comparison with previous antennomeres. Antennomere XI slightly longer than X, acuminate. Thorax yellow-testaceous, with the following pattern of black maculae on pronotum: one central spot with irregular shape (in female paratype, this spot Y-shaped, Fig. 9); on each side of central spot, a thin, long, curved stripe; a macula on lateral margin at mid-length. Surface of pronotum densely, rugosely punctate, with deep depression on each side of middle, with shallower medial impression next to the anterior margin. Lateral prothoracic margins sub-rounded; width almost twice as great as length, with greatest width at mid-length. One seta present on each anterior and posterior angle of pronotum. Short hairs present, sparsely distributed. Borders of the anterior, lateral and posterior margins enlarged. Anterior coxal cavities closed. Procoxae subcontiguous, not separated by visible invisible prosternal process. Mesosternum subtrapezoidal, with pubescence uniformly distributed, reaching middle of intermediate coxae; metasternum with shiny integument coated by dense pubescence. Femora fusiform, subequal in length to tibiae; tibiae somewhat dilated apically. Legs yellow with black median ring, apex of femora, and base and apical half of tibiae and tarsi. Male with small, acute tubercle apically on intermediate tibia and a small basal tubercle on the ventral face of protarsomere I; female without such tubercles. Pubescence of legs sparsely distributed, denser towards apex of tibiae. Tarsal claws bifid, with internal tooth somewhat convergent and slightly shorter than external tooth. Scutellum yellow-testaceous; punctation weakly marked; short hairs sparsely distributed. Elytra oval, convex, yellow-testaceous with small, black, circular spots throughout (Fig. 9); dense punctation well-marked, interspersed with short, sparse pubescence. Epipleural margin cariniform, somewhat elevated, extending from the humerus to apex; epipleura well developed, subconcave, apically almost reaching sutural margin, covered by short, sparse hairs. Apical sutural margin of elytra round in male, with small, acute tooth in female. Abdomen light-brown, with pubescence sparsely distributed; sternum I about twice as long as II; II to V subequal in length; V with deep, subtriangular, central emargination in male. Aedeagus with median lobe sclerotized, curved in lateral view, with basal spurs thickened, well developed (Fig. 11). Apex of median lobe pointed (Fig. 12). Tegmen (Fig. 13) hastiform and bifurcated near extremity forming two divergent arms, each arm with apex directed downward. Distribution. Brazil (state of Rio Grande do Sul) and Argentina (province of Chaco). Etymology. The specific name, from the Latin onca (onça in Portuguese), means jaguar and refers to the pattern of round maculae on the elytra, similar to the fur of a jaguar. Remarks. Caraguata onca sp. nov. bears a small basal tubercle on the ventral face of protarsomere I in males (females lack this structure) and an acute tooth at the posterior sutural angle of the elytra of females (round in males). To date, there have been no records of sexual dimorphism for these structures in the section Coelomerites, which includes the genus Caraguata. Such sexual dimorphism has however been observed in the section Schematizites: protarsomere I has a ventral tubercle in males of Yingaresca holosericea (Bowditch, 1923), Y. difficilis (Bowditch, 1923), Y. amazonica (Weise, 1921), Schematiza flavofasciata (Klug, 1829), and Brucita marmorata (Jacoby, 1886) (Wilcox 1965; Bechyné & Bechyné 1969; L. de A. Moura, unpublished data); and females have acuminate sutural angles of the elytra in the species of Neolochmaea (Moura 1998 c), Iucetima (Moura 1998 b), and Chlorolochmaea (Bechyné & Bechyné 1969; Moura 1998 a). Caraguata onca sp. nov. differs from all other species of the genus by the maculate pattern of the elytra, and by the sexually dimorphic characters of the anterior tarsi of males and the elytral apices of females.Published as part of Moura, Luciano De A., 2016, New species, new combinations and synonymies of Neotropical Galerucini (Coleoptera, Chrysomelidae, Galerucinae), pp. 63-70 in Zootaxa 4066 (1) on pages 68-69, DOI: 10.11646/zootaxa.4066.1.4, http://zenodo.org/record/27053
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