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2018, In Routledge Encyclopedia of Modernism
https://doi.org/10.4324/0123456789-rem1770-1…
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Architecture and the Paradox of Dissidence, Ines Weizman, ed., 2013
Arrested and forced to retire from teaching at the start of the Brazilian dictatorship, architect .Joao Batista Vilanova Artigas wound up working for the regime that had curtailed his freedom, How and why did this central figure in Brazilian architecture turn from resistance to collaboration? A significant body of recent Brazilian scholarship has focused on particular actors and time periods related to this question.' and by looking for connections across a broader time scale, this essay intends to complement and respond to these studies from an external point of view. Here, Artigas' writing, Designing dissent Figure 5.1 Vila nova Artigas, FAU USp' front view from Ave. Luciano Gualberto (photograph c. 2011 I discourses into the pedagogy of the school in the 1960s. followed by debates on the political role of the discipline prompted by the military coup of 1964. This context, paired with the threat of incoming foreign firms and the continuity of the state's developmentalist policies, illuminates broader links in Artiqas' attitudes toward the state. I argue Artigas' appropriation of foreign pedagogies and technology echoed the developmentalist policies of the Brazilian military regime. and his fixation with the threat of United States imperialism ultimately superseded the abuses of the regime he served. Industrialisation and foreign influx After the Second World War, Brazil began a process of accelerated industrialisation, consolidated in the latter half of the 1950s with the developmentalist project of J uscelino Kubitschek (1956-611.' It is possible to roughly bookend the period between two architectural events: the 1943 'Brazil Builds' exhibition at MoMA and the construction from scratch of Brasilia, the new modern Brazilian capital. built between 1956-1960.
TU DELFT: The Presence of Modern: Brazil Lecture: Modern Counterforms Architecture in São Paulo in the 1960s: the clash between design and construction site in architectural education and practice (Vilanova Artigas and the Arquitetura Nova group) Prof. Pedro Arantes São Paulo Federal University , 2013
After Paulo Mendes da Rocha won the Pritzker Prize, the world of architects found that Brazilian architecture was not just Niemeyer, Lucio Costa and Brasilia. Obviously the most interested ones already knew Lina Bo Bardi, Artigas, Reidy, among others. But the Pritzker-effect triggered a renewed and wider interest in the so called "São Paulo school of architecture", of which Mendes da Rocha is part, and whose epicenter was and still is the Faculty of Architecture and Urbanism of the University of São Paulo. Their difference in relation to the white and organic architecture of Niemeyer, its palaces, churches and monuments, is evident and marks a crucial distinction in modern Brazilian architecture. The Paulistas make recurrent use of exposed concrete and cruelest, angular and geometric forms. They design buildings as large urban infrastructures. And this design attitude derives from a rationale stemming from respect for the truth of the materials and structures, highlighting their constructive logic. In opposition to the spectacular architecture of Niemeyer and his relationship with the tropical landscape and climate, the Paulista School creates microclimates within an arid and aggressive city as Sao Paulo. They design protected private spaces from the urban chaos, where the interior is open and light with generous public spaces, forming large covered courtyards (be they schools, clubs or even single family homes). Instead of architecture that makes the integration and opening up to Brazil's natural exuberance, in São Paulo arises an architecture that creates in its inner space a context of amenity and animation. Thus, they produce a refusal of larger relationships with the violent environment of the city (violence from the burglar to the real estate market and its towers and shopping malls).
2007
While intended to enhance intellectual mobility, this dissertation will reveal that the quest for the perfect search engine is actually a Faustian bargain: While designed to foster increased navigation within our spheres of mobility, the search for the perfect search engine also empowers the widespread capture of personal information flows across the Internet.
ACRL 2015 Conference Proceedings, 2015
This was a contributed paper published in the ACRL Conference Proceedings in Spring 2015. This paper explores how librarians at Purchase College leveraged ideas from the slow movement and authentic assessment to design a rubric to assess information literacy skills in senior projects. We discuss how we normed and tested the rubric and share the next steps in this process. (NOTE: this article appears in duplicate under "Papers" on my Academia.edu profile. A colleague created the duplicate version and tagged me.)
D2.3, 2020
This document provides the framework for the optimum method of applying ECSA’s (European Citizen Science Association) ten principles of citizen science engagement for quality assurance in ethical and inclusive citizen science engagement in the CSI-COP project for the purposes of investigating the extent of online tracking. Following a dynamic recruitment drive, a diverse community of citizen scientists will gain new knowledge and practical skills through informal education provided in workshops and a MOOC (massive open online course). The expertise gained will provide an impetus to join the CSI-COP project collaborating with researchers investigating compliance of General Data Protection Regulation (GDPR) on websites and in apps. A series of activities, validating the outcomes of CSI-COP’s citizen scientists, will be essential to ensure the accuracy of the exploration and findings of cookies embedded in websites and in mobile device apps
Text script. Sign 319 orthographic variant of Sign 386 = Sign 373 + notch. खांडा [khāṇḍā] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware' PLUS mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' (oval-/rhombus-shaped like a bun-ingot).The hypertext Sign 386 reads two distinct wealth categories: muhã khāṇḍā 'ingots, equipment, tools, metalware’. Sign 379. kolom ‘three’ rebus: kolimi ‘smithy, forge’ inscript on Sign373. Thus mũh, muhã 'ingot’ for smithy, forge’... Thus, the text script message on the unfinished seal is a cargo manifest -- muhã khāṇḍā 'ingots, equipment, tools, metalware’; ḍhālako ‘large ingots’ from kancu sal ‘bell-metal workshop’
IKRAITH-Teknologi
Indonesia adalah salah satu negara yang memiliki ibu kota yang minim akan ruang hijaunya.Setiap pembangunan mayoritas tidak terlalu mementingkan keberadaan ruang hijau di sekitarbangunan ditambah lagi akan polusi udara yang terus meningkat setiap tahunnya, oleh karena itu dakonsep arsitektur hijau menjadi salah satu solusi yang tepat untuk pada perencanaan suatu bangunandi daerah Jakarta, apalagi bangunan yang dapat dikatakanmembutuhkan lahan yang luas dan terdapataktifitas yang padat didalamnya. Universitas disebut sebagai roda penggerak inovasi danpengembangan teknologi dengan pendekatan triple helix dalam hilirisasi riset, yaitu sinergi antarapemerintah, swasta dan perguruan tinggi. Permasalahan dalam mendesain suatu bangunan kampusumumnya dihadapi pada masa sekarang adalah sumber vegetasi ataupun ruang hijau menjadiberkurang bersamaan dengan perkembangannya pembangunan di setiap daerah, yang manapermasalahan tersbut dapat berpengaruh besar atau memiliki efek samping terhadap lin...
La linea d’ombra indaga gli “oscuri” decenni che intercorrono fra il ritorno della corte pontificia a Roma dopo il periodo avignonese (1378) e la conclusione dello scisma, con il definitivo ingresso in città di Martino V Colonna (1420). Sempre percepito come “di transizione” fra Medioevo e Rinascimento, questo periodo turbolento e insicuro è però anche quello in cui la città di Roma ricostruisce il proprio ruolo e gli strumenti visivi e letterari che lo esplicitano e lo visualizzano, di volta in volta ritratta quale cumulo di rovine abitate da banditi e bestie selvagge, o come luogo di impareggiabile fascino e conservazione di memoria. Il volume include studi in più di un campo “tecnico”: la scultura e i monumenti funerari, la pittura e i nomi degli artisti, la precoce attività nei monasteri, la città già meta di viaggio e di esplorazione dell’Antico per i grandi artisti del primo Rinascimento.
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