In praise of boredom and the legacy of a tradition in contemporaneity : Mu, Ma and Yasujiro Ozu

Tradition and innovation / edited by Maria do Rosário Monteiro, Mário S. Ming Kong. - London : Routledge, 2021. - ISBN 9780367277666.In the early 1970s, Paul Schrader, speaking on film, identified a specific type of work, which he referred to as transcendental, in which tedium or boredom played a constitutive role. In Schrader’s opinion, this ability to construct – to build a relationship between the film and the spectator – using a supposed “counter-action” is a tried and trusted part of the work of several filmmakers. The Japanese director Yasujiro Ozu is a member of this small group. The architect Kengo Kuma, also Japanese, alluded later to his own profession, to the advantages of treating boredom as a process of the rooting of an identity and of us returning that identity in an inventive system of growth. Whilst Kuma seeks a path towards redemption through the conscientization of boredom, Schrader sees the transcendental as a cinematographic style that precisely uses the boring or every day as a means of engaging the spectator. This chapter, using examples of the cinema of Ozu and concepts that are inherent to Japanese traditional culture, such as mu (無) and ma (間), aims to be a short reflection on a particular outlook inherent in architecture and in film-making, where boredom would seem to be an operational “tool” that can provide a path to a future

Refletir para crescer: A importância da autoavaliação no sucesso dos alunos do 1.° Ciclo do Ensino Básico

O Relatório de Estágio vigente foi desenvolvido no âmbito da Unidade Curricular Prática de Ensino Supervisionada do Mestrado em Ensino do 1.º Ciclo do Ensino Básico e de Português e História e Geografia de Portugal no 2.º Ciclo do Ensino Básico. Este é um dos elementos de avaliação, assim como como um requisito formal para a aceitação a prova pública e para a conclusão do segundo ciclo de estudos superiores. Através deste documento, a professora em formação apresenta uma reflexão crítica sobre o seu estágio curricular nos 1.º e 2.º Ciclos de Ensino Básico, abrangendo o desenvolvimento do conhecimento científico, pedagógico e didático consequente da formação académica. A nível investigativo, planeou-se um projeto de investigação potenciado pela ação pedagógica num dos contextos educativos, em vista a averiguar de que forma é que a autoavaliação pode influenciar o sucesso escolar dos alunos do 1.° Ciclo do Ensino Básico. Neste sentido, foram desenvolvidas sessões – “Eu, tu e nós”, “Está aí alguém?” e “Querido eu, esta semana…” -, das quais os alunos se foram acostumando ao longo do tempo, repercutindo-se numa evolução positiva da turma em relação a este processo de avaliação. Ao longo deste relatório, a futura professora detalha seu trajeto de formação, culminando na construção do seu perfil docente.The current Internship Report was developed as part of the Supervised Teaching Practice Curricular Unit of the Master's Degree in Teaching the 1st Cycle of Basic Education and Portuguese and History and Geography of Portugal in the 2nd Cycle of Basic Education. This is one of the assessment elements, as well as a formal requirement for acceptance to the public examination and for completion of the second cycle of higher studies. Through this document, the trainee teacher presents a critical reflection on her curricular internship in the 1st and 2nd Cycles of Basic Education, covering the development of scientific, pedagogical and didactic knowledge resulting from her academic training. At an investigative level, a research project was planned, fuelled by pedagogical action in one of the educational contexts, to find out how self-assessment can influence the academic success of primary school students. To this end, sessions were organised - "Me, you and us", "Is anyone there?" and "Dear me, this week..." -which the students got used to over time, resulting in a positive evolution of the class in relation to this assessment process. Throughout this report, the future teacher details her training journey, culminating in the construction of her teaching profile

Inhabiting the memory : the ineffable contamination

International Forum World Heritage and Contamination, 18, Naples, 2020 - Le vie dei mercanti. - Roma : Gangemi, 2020. ISBN 978-88-492-3937-9.Apropos the sculpture "House" by British artist Rachel Whiteread, Shelley Hornstein argues that architecture is something that is taken too lightly most of the time. Nevertheless, architecture accompanies our lives step for step. This accompaniment is independent of the intrinsic value of the objects in which we live. They are there and are part of our trajectory. The houses we live in are "living" witnesses to our emotions and lack thereof, our dreams and our nightmares. Houses, as witnesses, are essentially interior universes. Impregnable. Impregnable universes in which well-being and discomfort live side by side, and in which an uncomfortable feeling of strangeness can easily install itself. This uncanny strangeness, lives in our collective memory, contaminating it. House, the house that is not a house by Rachel Whiteread, and Die Familia Schneider, an installation by German artist Gregor Schneider, reveal that contamination. Whilst it is true that our habitation related memory essentially lives off a cliche of happiness, it is no less true that in its recesses, in habitation, a less clean and clear tremble survives. The depth of architecture, its weightiness, is impregnated with humanity. This is a text about the relationship between memory and habitation, and how that relationship contaminates the understanding of architecture when it is lived in

In search of Alvar Aalto : a portuguese journey in 1957

(Ever)green Alvar Aalto / 4th Alvar Aalto researchers' network seminar : seminar proceedings; coordenação de Aila Svenskberg, Mia Hipeli. - Helsínquia : Alvar Aalto Foundation, 2021. - P. 119-125.James Joyce (1882-1941) begins his book "A Portrait of the Artist as a Young Man" (1916), the story of the coming-of-age of Stephen Dedalus, with an epigraph from Ovid’s Metamorphoses: "Et ignotas animum dimittit in artes" [1, p. 2]. This mysterious epigraph presents a processual scenario where the figure of Daedalus, in his role as maker and in his effort to escape, becomes a shadow that is constantly present. An idea imbibed in dynamic principles associated with what could potentially exist is not indifferent to this notion of process. That idea is argued by Fritz Senn with regard to the short quotation from Ovid (43BC-17AC): “[t]he emphasis is not so much on the achievement, artes […], for that remains doubtful always, but on the process. The prerequisites are not so much erudition, though that helps quite a bit, but curiosity and versatility.” [2, p. 127]Este trabalho foi financiado por fundos nacionais através da FCT – Fundação para a Ciência e a Tecnologia, I.P., no âmbito do projeto UIDB/04026/2020

Revisiting the city of Edo and the National Museum of Western Art in Tokyo : unlimited organisms, between reason and emotion

Creating through mind and emotions / coordenação de Mário S. Ming Kong, Maria do Rosário Monteiro, Maria João Pereira Neto. - Londres : CRC Press, 2022. - P. 139-147.At the beginning of the Edo period (1603-1867), the city of Edo in Japan, which corresponds today to the central area of Tokyo, was the object of a profound urban transformation that was deemed necessary because of the city’s new condition as the country’s political and military center. Tokugawa Ieyasu (1543-1616), the first Shogun of the Edo period and a mentor for said transformation, devised a system of moats that spiraled outwards from Edo Castle and was to continue growing. Today, Tokyo is the city with the largest urban area in the world. In that city, the National Museum of Western Art, designed by Le Corbusier (1887-1965) in 1955 and completed in 1959, was based on the Musée à Croissance Illimitée [Museum of Unlimited Growth], an unrealized proposal the architect had presented in 1939. That museum was organized around a square-shaped nucleus, around which exhibition galleries built on pilotis could be added successively and without limit. This idea of the possible growth of the Tokyo museum was abandoned early on, but the Musée proposal continues to be pertinent. Recognizing the fact that they share structural principles based on possible unlimited growth, this paper proposes revisiting Edo and the National Museum of Western Art in Tokyo, setting out a discussion of the respective creations as organisms that balance reason and emotion

Echoes of Japan : an interpretation of Fernando Távora’s approach to design

Modern design: social commitment and quality of life. Valencia : International Domomomo Conference, ISBN 978-84-19286-59-8. P. 742-750.“I keep a photograph of my parents taken in the cloister of the Convent of Santa Marinha da Costa in 1915 before I was even born. // Relationships, fatality.” Fernando Távora (1923–2005), a Portuguese architect who was born in Porto, Portugal and graduated from the Porto School of Fine Arts (EBAP) in 1950, brought to Portuguese architecture the challenge of seeing tradition as a fundamental element for achieving modernity. As early as 1945, the year in which he began his higher training in Architecture, he wrote the essay “O Problema da Casa Portuguesa” [The Problem of the Portuguese House], in which he formulated the connection between Modern Architecture and the traditional house. Throughout his life as an architect, pedagogue, traveller and active participant in the national and international debate on modern architecture, he at all times revealed a desire for continuity with tradition. He became a decisive figure for understanding Portuguese architecture in the latter half of the twentieth century. Távora became interested in Japan and its culture early on. He observed Japanese architecture in the various books he was to acquire from 1945 onwards. He paid particular attention to traditional architecture. In 1960 he visited Japan, attending the World Design Conference (WoDeCo) in Tokyo. The contemporary Japanese cities and architecture did not make a good impression on him. On the contrary, he found his fascination for traditional architecture validated, particularly for the harmony that comes from its unity – the unity that permeates the design of the interiors of this architecture, integrating all the elements necessary for the unfolding of daily life. Távora’s contact with Japan is reflected in some of the projects he was working on when he visited the country in 1960 – the Tennis Pavilion in Quinta da Conceição, Leça da Palmeira, Portugal, for example, as he himself confirmed. Less obvious, but no less significant, is the possibility of discerning that reflection in a more abstract, less formal way, at the level of the unity and integrative quality that was at the root of the designs for some of his works. This paper proposes a reflection on echoes of the relationship that Távora established with Japan and with its traditional architecture, in particular its interior spaces. The object of observation will be the new wing of rooms at the Guimarães Monastery Pousada, in Guimarães, Portugal, crossing the reflections contained in some of Távora’s writings with his design practice

Revisiting Alvar Aalto : a re-reading of the legacy of Fernando Távora through the lens of japanese culture

(Ever)green Alvar Aalto / 4th Alvar Aalto researchers' network seminar : seminar proceedings; coordenação de Aila Svenskberg, Mia Hipeli. - Helsínquia : Alvar Aalto Foundation, 2021. - P. 249-253."For us, it was possible that, at the time, A[lvar] A[alto] was the character that appears as God to resolve tragedy: a prestigious figure solving the problems we were facing." Fernando Távora [1, p. 25-26, our translation] Fernando Távora (1923-2005), a decisive figure for the renewal of the Modern Movement in Portugal in the latter half of the 20th century, thus indicated, in a 1986 interview, the boundaries of understanding of Alvar Aalto (1898-1976) in the 1950s at the Porto School of Architecture, where he was a professor. Thirty years later, Távora concluded that Aalto's work was perhaps seen as a fashion – a formal trend – more than as a structured movement. Álvaro Siza Vieira (b. 1933), Távora's professed disciple, was one of the exceptions to Távora’s conclusion on the understanding of Aalto's work. Távora's observations are reason enough for reflection on the relationship between his own understanding of architecture and the work of Aalto. In the same interview, Távora confirmed that he "discovered that he had certain affinities with him" [1, p. 25, our translation]. While acknowledging Távora's critique of the formalistic approximations to the work of the Finnish architect, it is also worthwhile looking at an approximation to Japan and its culture, an interest in which the two men shared. The importance of Japan for Aalto is well known. The motivation Távora first had for taking an interest in Japan was his general interest in the world, an interest he developed as a student and the same interest that led him to the work of Aalto.Este trabalho foi financiado por fundos nacionais através da FCT – Fundação para a Ciência e a Tecnologia, I.P., no âmbito do projeto UIDB/04026/2020

A filmic montage : revisiting Jeanneret’s voyage d’orient

The 16th International Docomomo Conference Tokyo Japan 2020+1 : Inheritable Resilience : Sharing Values of Global Modernities / coordenação de A. Tostões, Y. Yamana. – Tóquio, 2021. ISBN 987-4-904700-69-3. – P. 1398-1403.Le Corbusier (1887–1965) had already explored, at an earlier stage in his career, the possibility of capturing architecture and the world through the filmic medium. One could argue that the relationship Le Corbusier had with film developed when he was a young man, when he was still Charles-Édouard Jeanneret, which would make an assessment of the importance of his 1911 voyage d’Orient meaningful. To a large extent the genesis of the complex relationship Le Corbusier was to establish later with architecture and with the world can be traced back to those travels; indeed, they should be seen as the very roots of his identity. This paper sets out to understand the principles that may have nurtured Le Corbusier’s future relationship with film. His like-mindedness with Sergei Eisenstein (1898–1948) and the acknowledgement by both of the cinematographic qualities of the Acropolis in Athens, justify the attention that subsequent thought has given to the series of drawings Jeanneret produced of the monument. But other drawings by him should also be mentioned in this context, particularly the one he made of a house in Istanbul. The movement that is perceived between each of the drawings of the Acropolis is counterposed by the movement that exists in the interior of this drawing, which presents architecture as if observed by a gaze that moves through time, discerning in it a filmic montage that pre-announces his future approximation to architecture.Este trabalho foi financiado por fundos nacionais através da FCT – Fundação para a Ciência e a Tecnologia, I.P., no âmbito do projeto UIDB/04026/2020