Repositório RCAAP

After several great river works were executed during the 20th century, the Guadalquivir river, the most important of Andalusia (Spain), is receiving a series of physical interventions that will deeply change its shape, from its mouth to Seville. Inside the limits of this city, the rectification, which began with the Tablada corta (1920s) and was followed by the Triana corta (1950s) and the Cartuja corta (1970s), aimed to improve harbor activities and end the constant floods. The rectification formed a curious duplication of the river, dividing it into a" historical" section (converted into a dock) and an" alive" section (by which the river flows toward the sea). At the same time, the city sprawled to the south (on the 1929 Iberoamerican Exhibition area), east, and north, and consolidated itself as the main town of the new metropolitan region. The Cartuja region, on the west side, was finally occupied in 1992 by the International Exhibition (Expo'92), whose investments included a revamping of the rail and road systems, giving back to the city a waterfront that was isolated before that time (Torneo Avenue). As the port moved to Tablada to the south, the old Arenal Quay received the first project that reconnected the river to the city. New promenades and bridges linking the old city to Cartuja supplemented this new landscape, supported by recent urban legislation plans. Providing a historical description of this process and a brief visual analysis of the double Guadalquivir, this article identifies important aspects found in the current urban section of the river, with special consideration of the changes performed (and still ongoing) in its historical course.

Durante o vice-reinado, as ordens religiosas cumpriram, a partir da catequização, tarefas de vital importância. Os primeiros europeus a chegarem a muitas zonas da Nova Espanha foram religiosos, e trouxeram o modo de vida hispânico, com o qual se iniciou um caminho de transformações. Os religiosos e construíram povoados, os quais dotaram de serviços, administraram, pacificaram e educaram. Uma das ordens religiosas, a dos jesuítas, utilizou técnicas avançadas para seu tempo. Eles instituíram um sistema de controle territorial destinado a gerar o sustento econômico de sua obra na América. O sustento das missões e colégios era feito por sistemas de fazendas administrados de maneira brilhante. Eles planejaram seu desenvolvimento regional, configuraram estratégias de mercado, incorporaram novas tecnologias e desenharam estratégias de aquisição. Os sistemas de fazendas jesuítas foram os mais produtivos, até sua expulsão, em 1767, situação que levou a colapso a economia de várias regiões. Um exemplo disso é o sistema de fazendas dos colégios de Tepotzotlán.

The urban chaos at the end of the 19th century that characterized the main Industrial Revolution cities such as London and Paris inspired Le Corbusier to propose radical urbanistic changes in which tall buildings assumed a prime position. The 1960s gave rise to visionary projects based on great, promising technological advances, with a focus on the issues of housing, mega-structures, and tall buildings. Three groups led this new architectural and urbanistic approach: Archigram in England, the Metabolists in Japan, and the French Group, which created a whole series of architectural utopias, tackling the theme of the tall building. At the same time, the model of the tall office building grew with the economic development of cities that were important internationally, such as New York and London. In the 1970s, a new worldwide concern created new utopias for the tall building, questioning conventional models. In this period, the first proposals for the tall," green" building were developed in terms of utopias. In the 1990s, Malayan architect Ken Yeang became an international reference for the theme of the" Environmental Tall Building." His ideas are based on new architectural aesthetics, showing an intensive use of vegetation, daylight, and natural ventilation to achieve environmental comfort and energy performance. More recently, his architecture became well-known for the ideas of" vertical landscaping" and" vertical urbanism." Besides the utopia of the tall, green building, examples built in European cities since the 1990s claim to define the architectural and technological bases of a real generation of more environmentally-friendly tall buildings. The utopian historical precedents have influenced practicing architects with respect to form, function, and technological possibilities, while the architectural challenges to achieve sustainability continue to inspire many questions, such as what are the premises for the sustainable tall buildings, and what are the technological possibilities to achieve the its goals of these structures?

The notion of tectonics is not of exclusive use for architecture. There is no doubt that the greater public refers to this term as the theory based on the movement of the continental plates in the field of geology. In architecture, even if the term is increasingly evoked in books, magazines, websites, blogs, and architecture schools, defining tectonics has become even more difficult because its discontinuous presence throughout history has given the term multiple meanings. Frequently defined as the" art of construction", a better understanding of tectonics cannot ignore an understanding of the historical trajectory of the term. A derivative of the greek tekton (carpenter), the notion has more than two thousand years of history. Its understanding changed in relation to its greek origin, mainly due to the contributions of German theoreticians Carl Bötticher and Gottfried Semper in the 19th century, and more recently to the notable contribution of Kenneth Frampton (1983, 1990, 1995, 2005). Frampton renewed the debate on tectonics, promoting the notion to the statute of" expressive potential of construction", capable of congregate material, constructive, cultural, and aesthetic aspects. This paper will begin with a discussion of the evolution of the concept of tectonics, first by considering the emerging technical knowledge of building physics in the 18th century, and then by discussing the two last theoreticians (Semper and Frampton); it concludes by raising current perspectives regarding this notion.

In professional areas in which there is an element of design practice such as architecture and urbanism, the paradigm of knowledge has not been clearly articulated in academia. However, the characteristics of the knowledge paradigm appear to include a valorisation of subjectivity; plurality of interpretation; objects that embody meanings; and that which cannot be expressed through language. These values run counter to traditional models of knowledge and research which, through the logic of its special language, value objectivity; singularity of interpretation; experiments that embody theoretical explanations; and concepts that can be coherently argued in words. Thus there is a problem in accounting for research in these areas in ways that will be recognized and valued by the academy. This article presents a sub-group of academic research that is specific to areas of design practice - Practice-based Research - as being problematic, and presents some current debates on the best way of dealing with some results that are considered, in academia, to be non-traditional.

La comparación entre las artes hace posible figurar el tiempo como elemento común entre el grabado renascentista de Dürer, la escultura romana de Laocoonte y el cuento de Guimarães Rosa. De la lectura de esas obras, diferentes en su forma, medios, época y lugar, se encuentran misterios referidos en señales sutiles, los que, aunque no despiertos en la conciencia creativa, estimulan interpretaciones. El papel de la luz como unificadora de las entidades tiempo y espacio restablece el principio clásico de la ut pictura poesis en la lectura moderna.

La comparación entre las artes hace posible figurar el tiempo como elemento común entre el grabado renascentista de Dürer, la escultura romana de Laocoonte y el cuento de Guimarães Rosa. De la lectura de esas obras, diferentes en su forma, medios, época y lugar, se encuentran misterios referidos en señales sutiles, los que, aunque no despiertos en la conciencia creativa, estimulan interpretaciones. El papel de la luz como unificadora de las entidades tiempo y espacio restablece el principio clásico de la ut pictura poesis en la lectura moderna.

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Este artigo traz uma abordagem da mostra de arquitetura Brazil Builds apresentada em Campinas, em fevereiro de 1945. A cidade fez parte do circuito de exibições da mostra, que teve início em 13 de janeiro de 1943, no Museum of Modern Art de Nova York (MoMA). A apresentação da mostra de arquitetura propicia uma reflexão sobre o equacionamento dos diversos interesses envolvidos em torno de sua realização na cidade. O empenho do poder público e de setores da elite local desvela uma teia de interesses vinculados à exposição de arquitetura. O objetivo maior é a discussão das estruturas locais de poder que se beneficiaram da dimensão simbólica da arte, utilizando a mostra de arquitetura como um instrumento que colabora na legitimação da implantação de um plano de urbanismo para a cidade - o Plano de Melhoramentos Urbanos -, que vinha sendo desenvolvido pelo urbanista Prestes Maia, contratado pela prefeitura da cidade desde 1934. Esse plano fazia parte de um grande projeto de inserção da cidade na modernidade.