The UNOR 40 plan (1971-1972) by Hestnes Ferreira: As a more structured expansion proposal for a planning unit in Lisbon

The aim of this paper is to present the work of Hestnes Ferreira and his team, namely for the UNOR 40 planning unit in Lisbon, as a study case of an infrastructural enhancement in Mainland Portugal during the early 1970s. The UNOR design teams were recruited outside the municipal staff. For UNOR40 the team was coordinated by Raúl Hestnes Ferreira and included architects Rodrigo Rau and Vicente Bravo, landscape architect Gonçalo Ribeiro Teles, and urban geographer, Jorge Gaspar. These oversaw the planning of a large area between Campo Grande and Benfica, using a traffic study developed by French consultants. The main results of the UNOR 40 Plan were to redefine the layout of the North-South Hub, Combatentes and Lusíada Avenues, as a way of ordering the urban network of this sector, including the urban access to Telheiras. The plan also comprised the creation of an institutional square, based on a program that included museums, institutes, office buildings, and a church. However, the applicability of the UNOR 40 Plan was practically nil, with the exception of the layout of some road links.info:eu-repo/semantics/publishedVersio

Photopoetry and the Bioscopic Book: Russian and Czech Avant-Garde Experiments of the 1920s.

This dissertation focuses on three select examples of avant-garde poetry books—Mayakovsky’s and Rodchenko’s "About This" (1923), Mayakovsky’s and Rozhkov’s "To the Workers of Kursk" (1924-7) and Nezval and Teige’s "Alphabet" (1926), all illustrated by photomontages or diverse techniques involving photographic material. By way of three distinct case studies, it examines the avant-garde photo-poetry works from the angle of the bioscopic book, a concept envisaged in a programmatic manner by El Lissitzky in 1923. Through historically contextualized close readings, the analysis proposes that the 1920s bioscopic book should be understood as a theoretical, if not visionary, concept of a visual technology approximated in the series of experiments within the avant-garde photo-poetry genre. The dissertation conceptualizes the bioscopic book as an alternative cinematic apparatus through examining its materiality and dynamic conceptual design. By elaborating on different avant-garde “programs,” embodied in the medium’s conceptual design, the analysis demonstrates how these three selected examples, despite being differently designed apparatuses, all invite the reader/viewer to operate as a producer by joining the collective authorship of the poet and graphic designer in conducting perpetual transfer from one medium to another. In managing such interpretative transduction from one semiotic system to another, this dissertation argues, the reader/viewer both takes part in the topography of the bioscopic book and becomes a part of its conceptual-material circuit. The reader/viewer participates in the re-creation of the cinematic “projection” by setting the alternating current of the bioscopic book in motion. I argue that the bioscopic book is a technology “programmed” to function as a “suggestion apparatus” for a two-way communication between the different media and the reader/viewer, who herself becomes a channel, a medium, an active “influencing machine,” a prosumer. The dissertation offers a theory of the bioscopic book concept as a technology for 1) the formulation and re-production of “montage thinking” as a new cognitive model by which we interact with the outside world, 2) the augmentation of intermedial and interpersonal dialogue, and 3) the transformation of readers/viewers into prosumers.PhDSlavic Languages & LiteraturesUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/100092/1/aboskov_1.pd