Le musée Sant'Ana

Les dimensions immatérielles du patrimoine ont été fondamentales pour la compréhension et la promotion du dynamisme urbain, notamment par rapport aux sites dotés et reconnus de valeur historique par les institutions de garanties brésiliennes. Cette étude élabore quelques réflexions sur les concepts qui entourent cette discussion et son importance basée sur l'expérience locale du musée Sant'Ana, dans la ville de Tiradentes. Il rassemble une collection d'images qui comprennent une représentation socioculturelle régionale brésilienne. Le musée et ses expositions constituent, à travers une expérience sensible, des formes particulières de subjectivités liées au patrimoine individuel et commun. L'architecture du musée et la collection d'images synthétisent un aspect sociologique véhiculé par les signes visibles et invisibles. Ces caractéristiques interagissent avec la culture locale, tout en renforçant la clarification et l'appréciation des autres patrimoines et traditions de la région.The intangible dimensions of the heritage have been fundamental for understanding and promoting urban dynamism, especially relating to landmarks recognized as historical value by Brazilian safeguard institutions. This study aims to elaborate some reflections on the concepts which involve this discussion and its deployment based on the local experience of the Sant’Ana Museum in the town of Tiradentes. It brings together a collection of images that include a Brazilian regional sociocultural representation. This museum and its exhibited objects constitute, through experience of the sensitive aspect, particularized forms of subjectivity linked to individual and common patrimony. The museum architecture and the image collection summarize a sociological function mediated by the visible and invisible signs. These characteristics interact with the local culture at the same time as strengthening the clarifying and appreciation of other heritage and traditions of the region

Um acervo, uma coleção e três problemas: a Coleção Jacques Pilon da Biblioteca da FAUUSP

Este artigo examina a constituição do Acervo de Projetos de arquitetura da Biblioteca da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (FAUUSP), o tratamento da Coleção Jacques Pilon e os rendimentos do projeto de arquitetura como fonte documental a partir de três questões interligadas: a constituição do campo arquitetônico no Brasil; a história de São Paulo e sua arquitetura; e a contribuição dos arquitetos estrangeiros para a construção da cidade entre 1930 e 1960. A partir da abordagem de novas e velhas fontes de pesquisa, procura-se articular a história da arquitetura com outros campos do conhecimento nem sempre a ela relacionados, mas que juntos podem contribuir para uma leitura mais complexa da produção arquitetônica e para os esforços de revisão da historiografia da arquitetura moderna no Brasil.This article examines the establishment of the Archive of Projects of the Library of the Faculty of Architecture and Urbanism of the University of Sao Paulo (FAUUSP), the treatment of the Collection Jacques Pilon and the architectural design as a documentary source from three interconnected issues: the constitution of the architectural field in Brazil; the history of São Paulo and its architecture and the contribution of foreign architects to build the city between the years 1930 and 1960. From the approach of new and old sources of research, this article seeks to articulate the History of Architecture with other fields of knowledge not always related to it, but that together it can contribute to a more complex reading of architectural production and to efforts of reviewing the historiography of modern architecture in Brazil

The architecture of reinvention. Between the optical and the haptic

[EN] The works of Loducca Advertising Agency in São Paulo, SP, Adriana Varejão Gallery, and Burle Marx Education Center, located in the Inhotim Center for Contemporary Art, Brumadinho, Minas Gerais, are examples of reinforced concrete buildings materializing exuberant designs and landscape insertions. Concentrated in exploring and enhancing concrete and integrating it with other light and fl exible materials, with better and light propagation and thermal isolation perfomance, these architectures announce new aesthetic concerns.[ES] Las obras de la Agencia de Publicidad Loducca en São Paulo, SP, Galería Adriana Varejão y del Centro Educativo Burle Marx, localizadas en el Centro de Arte Contemporáneo Inhotim, Brumadinho, MG son ejemplos construidos en hormigón armado que materializan exuberantes proyectos e inserciones en espacios / paisajes. Especializadas en explorar y potenciar el hormigón e integrarlo en materiales leves, flexibles y dotados de tecnología térmica y de propagación de la luz, esas arquitecturas enuncian nuevas inquietudes estéticas.Borges Lemos, C. (2012). Arquitectura de la reinvención. Entre lo óptico y lo háptico. EN BLANCO. Revista de Arquitectura. 4(9):116-117. doi:10.4995/eb.2012.6869SWORD1161174

Dos gestos e materializações da modernidade na casa horizontina

This article presents some aspects of the links between public and private, architecture and social and cultural behavior that have their manifestations in the horizontine house. The gestures, behaviors and modern materializations, so- cial and cultural changes inserted by the rules of civility in the scope of modernity at the end of the 19th century and the beginning of the 20th century, can be seen in the investigation in the memories of the writers and chronicler of the capital, in the collections the architectural plans, photographs and APCBH (Arquivo Público da Cidade de Belo Horizonte) and APM (Arquivo Público Mineiro) periodicals that make it possible to ascertain the boundaries of the public and the private reflected in the house’s distribution program and in the way of living that are established from the capital city plan.Este artigo apresenta alguns aspectos dos vínculos entre público e privado, arquitetura e comportamento social e cultural que têm suas manifestações na casa horizontina. Os gestos, os comportamentos e as materializações modernas, modificações sociais e culturais inseridas pelas regras de civilidade no âmbito da modernidade do final do século XIX e início do século XX, podem ser constatadas na investigação, nas memórias dos escritores e cronistas da capital, nos acervos das plantas arquitetônicas, das fotografias e dos periódicos do APCBH (Arquivo Público da Cidade de Belo Horizonte) e do APM (Arquivo Público Mineiro) que possibilitam averiguar as fronteiras do público e do privado refletidas no programa distributivo da casa e na maneira de morar que se estabelecem a partir da planta da cidade capital

A formação da paisagem cultural de Ouro Preto, Minas Gerais – Algumas características do processo de ocupação como constituintes da sua ambiência barroca

Abstract: The study on the origins of the formation of the cultural landscape of Ouro Preto, formerly Vila Rica, analyzes some relevant vestiges recorded by respected scholars on the subject such as the architect and writer Sylvio de Vasconcellos. The occupation and consolidation had its origins linked to the discoveries of gold reserves and other minerals between the end of the 17th century and part of the subsequent century. The configurations, as in the case of the villages that resulted in the city's conformation, occurred in a long, sprawling way, with no definition of a polarizing center or endowed with centrality. The growth of these villages, driven by socioeconomic prosperity, culminated in the creation of the first landscape of the village. The definition of the layout, the peculiar topography, the constitution of religious and civil architecture, among other factors, will condition the formation of a unique cultural landscape. Keywords: Settings, city, landscape, baroque, camp.Resumo: O estudo sobre as origens da formação da paisagem cultural de Ouro Preto, antiga Vila Rica, analisa alguns vestígios relevantes registrados por respeitados estudiosos do tema como o arquiteto e escritor Sylvio de Vasconcellos. A ocupação e consolidação teve sua origem vinculada às descobertas de reservas auríferas e de outros minerais entre o final do século XVII e parte do século subsequente. As configurações, como no caso dos arraiais que resultaram na conformação citadina, ocorreram de forma longilínea, espraiada, sem definição de um centro polarizador ou dotado de centralidade. O crescimento desses arraiais dinamizados pela prosperidade socioeconômica culminou na constituição de uma primeira paisagem da vila. A definição do traçado, a topografia peculiar, a constituição da arquitetura religiosa e civil, entre outros fatores, vão condicionar a formação de uma paisagem cultural singular.Palavras-chave: Configurações, cidade, paisagem, barroco, arraiais. Abstract: The study on the origins of the formation of the cultural landscape of Ouro Preto, formerly Vila Rica, analyzes some relevant vestiges recorded by respected scholars on the subject such as the architect and writer Sylvio de Vasconcellos. The occupation and consolidation had its origins linked to the discoveries of gold reserves and other minerals between the end of the 17th century and part of the subsequent century. The configurations, as in the case of the villages that resulted in the city's conformation, occurred in a long, sprawling way, with no definition of a polarizing center or endowed with centrality. The growth of these camps, boosted by socioeconomic prosperity, culminated in the creation of the village's first landscape. The definition of the layout, the peculiar topography, the constitution of religious and civil architecture, among other factors, will condition the formation of a unique cultural landscape. Keywords: Settings, city, landscape, baroque Recebido em: 21/06/2021 – Aceito em 23/07/202