Repositório RCAAP

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A formação da metrópole paulista está relacionada ao processo histórico de implantação de suas infra-estruturas regionais a partir do final do século 20, com suas motivações de ordem econômica e seus reflexos territoriais. A partir de então, o papel preponderante de São Paulo na rede de cidades foi fundamental para seu desenvolvimento econômico e sua consolidação como principal cidade do país. Este artigo analisa a importância do entendimento da escala regional relacionada aos planos e projetos para São Paulo, desde o Plano de Avenidas, nos anos 30, ao Rodoanel, nos anos 90, e o percurso de seu planejamento e gestão a partir da experiência do sistema metropolitano, nos anos 70, e seu contraponto, a partir dos anos 90, com os processos de licenciamento ambiental desses grandes projetos. Na atualidade, a discussão de planos e projetos é bastante complexa em São Paulo, pois deve considerar, além do impacto local do empreendimento, os interesses regionais relacionados a essas iniciativas. Para demonstrar essa posição, avaliamos o resultado do licenciamento ambiental do projeto de Ampliação da Calha do Rio Tietê e do Rodoanel Trecho Sul, para a efetiva condução dos processos de estruturação e desenvolvimento da metrópole, em suas diversas escalas. A partir da percepção dos resultados da experiência de planejamento e gestão metropolitana, nos anos 70, da atualização da discussão de metrópole inserida no contexto da globalização econômica, nos anos 90, e das experiências atuais dos sistemas metropolitanos vigentes em São Paulo parece-nos necessário restabelecer um sistema de planejamento metropolitano efetivo em novas bases, com legitimidade, compromisso e governança.

This article examines new urbanism, an urbanistic model that emerged in the United States, and its use in the Pedra Branca project, located in Palhoça, Santa Catarina. In the 1980s, new urbanism arose from urban-stream concepts such as the city beautiful movement and garden cities. As an offshoot of smart growth, new urbanism reacted against the american suburban growth pattern to stress the importance of dense, small towns, where urban dwellers could move about on foot or by bicycle, and the use of cars might be restricted. After 25 years in the United States, this model will be used in Pedra Branca, to guide that project's main sector. The Pedra Branca projecthas attracted widespread interest because of the size of the investment, and the project has also captured the interest of local government and large companies looking for investment opportunities. Additionally, Pedra Branca won a major international architectural award, which has further raised the hopes of local businesses. The central sector will be built based on 10 new urbanism principles, such as a variety of homes, green areas, small blocks, green buildings and mixed use areas. In spite of this, the project reveals a conflicting relationship between the entrepreneurs' and the movement's goals, meaning that new urbanism has become a business project rather than an urban-design project, and that new urbanism is being used to set this aside from other projects. This has caused Pedra Branca to be promoted as a sustainable city, leading to an oversimplified and conflicting understanding of new urbanism.

Since the end of the 20th century, the "return to the city," announced in different ways, has been the focus of studies and proposals in urbanism and architecture. Topics such as the renewal of urban centers, creation of new districts, social housing and urban sustainability are on the agenda together with the discussion of the renewed importance of the sense of the polis. However, such actions, in their most meaningful examples, are accompanied by eccentric occupations of territory and the manipulation of old social structures. This article reviews some theoretical positions from the second half of the 20th century, which seem to reappear in contemporary architecture and urban projects. The goal is to identify concepts and methodologies appropriate to these interventions, essentially, "in context." This article brings examples from the 1950s through the 1990s in the shadow of the large objects designed by the star-system of globalized architecture, but which represent hypotheses apart from the unsustainable mega-structures promoted as great contemporary icons.

While the lakes of the most important urban parks of São Paulo city are highly valuated, the streams responsible for their existence are ignored. As the urban development of the districts crossed by these streams increased, they were put into pipes and buried, so that nowadays they disappeared completely. Now, the lakes are the only way the water transported by these streams can participate in the landscape. However, some residues of the concealment process left on the ground denunciate the presence of the streams. The case studies of Ibirapuera and Aclimação parks reveal possibilities to connect those important open spaces making use of the residues associated to the streams that feed their lakes. Doing so, new alternatives for pedestrian and cyclist are improved and the keeping alive of the site memory is achieved as well.

Este artigo procura investigar a leitura que o arquiteto Robert Venturi faz de alguns traços da obra de Le Corbusier, para conceber suas considerações sobre arquitetura e comunicação. Para isso, foram estudadas, de modo breve, as maneiras como Le Corbusier já fazia uso, em sua obra, de algumas categorias que, posteriormente, seriam atribuídas, excelentemente, aos ditos pós-modernos: a retórica, a alusão, a memória dos centro históricos e dos interiores decorados. Tendo em vista a obra geral do arquiteto suíço, é certo que essas categorias aparecem somente nas entrelinhas de seu projeto modernista de reorganização das cidades. Entretanto, uma leitura de minúcias revela alguns temas – especificamente o interesse de Corbusier nos monumentos de Paris, seus pórticos desenhados na Ville contemporaine (1921), e a lareira com motivos surrealistas na cobertura De Beistegui (1929) que seriam objeto de pleno interesse para historiadores e arquitetos da década de 1960. Justamente, nessa recuperação de traços obscuros de Corbusier, Venturi posiciona alguns de seus temas, especificamente em suas soluções residenciais, privilegiando – e, em alguns casos, mesmo exagerando, a imagem chaminé, duplicando sua altura ou colocando-a como grande ordenadora da planta. Todo esse debate será estudado tendo, como pano de fundo, escritos recentes que realizam um balanço crítico das rupturas engendradas pela dita arquitetura pós-moderna com os modernismos. Fazendo uso de considerações de Andreas Huyssen, Paul Virilio e Beatriz Colomina, entre outros, procurou-se ora delimitar, com maior clareza, a fronteira entre essas duas correntes do século 20, ora diluir seus contornos, revelando semelhanças que, eventualmente, fazem-nas indissociáveis.

This is an analysis of the text The Work of art in the era of its technical reproducibility, written in 1935 by Walter Benjamin, in which the author examines the changes made by the new techniques of art production in the cultural sphere and develops, as the main argument, the thesis that technical reproducibility causes the overcoming of aura by a work of art. Based on the contrast between Benjamin's text and The culture industry: enlightenment as mass deception, written in 1947 by Theodor Adorno and Max Horkheimer, and the observation of cinema, music and book production (arts that are necessarily reproducible), this article (a) analyzes the thesis of the overcoming of the concept of aura by the work of art in the era of technical reproducibility, (b) contrasts this thesis with Adorno and Horkheimer's reflection on the cultural industry and with the characteristics of the work of art produced during the 20th and 21st centuries, and (c) presents the contributions that arise from this analysis to the reflection regarding the impact of Internet and digital technology over contemporaneous cultural production. As the main conclusion, the article considers that the techniques analyzed by Benjamin, despite having made the work of art independent of a single substratum, did not emancipate it from its auratic character. The key elements of the aura (authenticity and uniqueness) were not overcome, but were instead adapted to the technical changes. Such adaptation occurred around the industrialization that marked cultural production during the 20th century.

A partir de um projeto de Zaha Hadid em Viena, pretende-se discutir as possibilidades de deslimitação do objeto arquitetônico e os possíveis processos de mediação e amálgama com a cidade, e de qual maneira a arquitetura poderia incorporar essa questão no fazer projetual. Parte da premissa da importância de micropolíticas urbanas que se formam e desfazem-se a partir de rastros, o "quase" ausente capaz de produzir diferenças pela mistura, pelo contágio e pelo movimento, parecendo-nos mostrar que tão importante quanto a proxemia, relações de proximidade e fusão é a diastemia, relações baseadas em contaminações pela irradiação, que podem se dar em diferentes graus de intensidade. Aqui, o rastro como uma condição frágil necessária para o surgimento da alteridade. O "além-do-ser" a surgir proveniente daquilo que parece sempre não mais estar lá, seja como uma presença quase ausente (desativada), "invisível", ou como movimento de contaminação suplementar - e conseqüente superação daquilo que parece ser da "natureza" ou próprio de algo - do objeto e/ou territorial, a hibridização.

Art, architecture and urbanism. Crisis of aesthetic and ethic values. This essay intends to be a point of light within the absolute timidity in which these fields currently lie. Based on the concepts of "dialectics," "idealism" and "alienation," this article argues that it is impossible to have art, architecture and urbanism condensing ethical and aesthetic values of high social worth within a capitalist system. Ever since the rise of this economic system, the arts have been unable to expose the real values of social change, except for some rare exceptions. The work of Georg Lukács can shed some light on the reasons behind the crisis the arts have faced since the mid 16th century, when the capitalist system gathered momentum. This applies especially to architecture. In the 20th century, we witnessed the birth of the Modern Movement in architecture and its effects on the arts. The emptiness of aesthetic values mirrors the absence of ethical values. The problem has become a problem of Man as a social being. This Man's ontology represents a key to understanding this problem. To this effect, rekindling the emancipating of arts and architecture becomes our mission, particularly when we perceive that "reality is as trivial and mediocre as any truly poetic enhancement" seems a bit odd. We are so used to the lack of individual and social critique that we have not managed to overcome this in any respect.

This article, focusing on construction technology, investigates and identifies the sustainability of the Amazon rubber tapper's home, built within the rubber tree forest of the Brazilian State of Acre from the late 19th century to the second half of the 20th century. This study also surveys bibliographical information, historical, determinant and constructive facts that attributed meanings to this model of construction, identifying it as sustainable housing. The latex collector was a crude individual, usually a migrant from the country's Northeast, driven by the droughts in the Northeastern backwoods, in search of wealth. When these people reached the Amazon regions to tap rubber trees and produce rubber, they entered the dense and lush forests, rich in rubber trees, Brazil nut trees, bamboo, palm trees and all types of hardwood. It was an unknown world. As a result of a war for latex hegemony, Acre emerged as important to Brazil and the whole world. Lacking a good financial situation and due to the basic needs and memories of their homeland, the rubber tappers built their houses similar to the Amazon native's housing, using raw materials from the forest - such as wood, paxiúba, palm straws, cipó and bamboo - without destroying the environment. They learned how to protect their homes from the storms by interacting with nature through open, integrated and windy spaces. These findings are based on the history of Acre's settlement, and the descriptions of the tappers' homes are evidence of dwellings that are fully self-sustainable.

This article tackles the impact of internal reflections in day-lit built environments. This study shows how the inner space geometry, surface properties, openings percentage, position and distribution affect the values and distribution attributed to the internally reflected component. Such knowledge enables us to establish parameters and relations among the above variables so as to fill a gap in the existing biography. The simplified methods provided and used by existing legislation to assess the day-lit environment do not take into account light's basic components, which affect the internal spaces. Therefore, this fact has a negative influence on the prediction of light's behavior. Daylighting contribution in an environment depends directly on the sky component, on the light reflected on external surfaces, and also on the light reflected on internal surfaces among other aspects; this knowledge is crucial for a good understanding of the day-lit environment. The findings of this study should enable the manipulation of variable values and parameters, which affect the reflected light in order to ensure both the quantity and mainly the quality of the day-lit environment.

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