DOCSLIB.ORG

Aacústica De Museus Modernos. Estudo De Caso

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aacústica De Museus Modernos. Estudo De Caso A ACÚSTICA DE MUSEUS MODERNOS. ESTUDO DE CASO O MUSEU DE SERRALVES (PORTO) HÉLDER JOSÉ SILVEIRA GONÇALVES Dissertação submetida para satisfação parcial dos requisitos do grau de MESTRE EM ENGENHARIA CIVIL — ESPECIALIZAÇÃO EM CONSTRUÇÕES Orientador: Professor Doutor António Pedro Oliveira de Carvalho JULHO DE 2012 MESTRADO INTEGRADO EM ENGENHARIA CIVIL 2011/2012 DEPARTAMENTO DE ENGENHARIA CIVIL Tel. +351-22-508 1901 Fax +351-22-508 1446 [email protected] Editado por FACULDADE DE ENGENHARIA DA UNIVERSIDADE DO PORTO Rua Dr. Roberto Frias 4200-465 PORTO Portugal Tel. +351-22-508 1400 Fax +351-22-508 1440 [email protected] http://www.fe.up.pt Reproduções parciais deste documento serão autorizadas na condição que seja mencionado o Autor e feita referência a Mestrado Integrado em Engenharia Civil - 2011/2012 - Departamento de Engenharia Civil, Faculdade de Engenharia da Universidade do Porto, Porto, Portugal, 2012. As opiniões e informações incluídas neste documento representam unicamente o ponto de vista do respectivo Autor, não podendo o Editor aceitar qualquer responsabilidade legal ou outra em relação a erros ou omissões que possam existir. Este documento foi produzido a partir de versão electrónica fornecida pelo respectivo Autor. A Acústica de Museus Modernos. Estudo de caso, o Museu de Serralves (Porto) A todos os que contribuíram para o meu sonho Adoro aprender sobre tudo, como nunca ninguém sabe de tudo, serei estudante até morrer Irina Monteiro A Acústica de Museus Modernos. Estudo de caso, o Museu de Serralves (Porto) A Acústica de Museus Modernos. Estudo de caso, o Museu de Serralves (Porto) AGRADECIMENTOS No momento de conclusão deste trabalho não posso deixar de demonstrar o meu sincero agradecimento a todos aqueles que contribuíram para a sua realização, muito em especial: Ao Professor Doutor António Pedro Oliveira de Carvalho por todo o apoio prestado ao longo deste trabalho, o interesse e a inteira disponibilidade que sempre mostrou, bem como o espírito crítico e a boa disposição contagiantes com que sempre me atendeu. Ao Eng.º. Eduardo Costa pelo apoio na realização das medições, mas também pela simpatia que demonstrou e pelas sugestões que me deu e, que permitiram melhorar este trabalho. À Fundação de Serralves por permitir a realização deste trabalho e em especial ao Eng.º. Pedro Viegas pela simpatia e disponibilidade que sempre demonstrou. Aos diversos consultores acústicos que me forneceram dados e transmitiram conhecimentos da sua experiência, mas em especial a Marshall Long, Higini Arau, Daniel Commins, John Miller, Gregory Miller e Octávio Inácio, o meu sincero agradecimento. Ao meu irmão Sérgio, que me perguntou várias vezes como estava a decorrer o trabalho. À Patrícia, que esteve sempre ao meu lado, por toda a paciência, compreensão e ajuda ao longo de todo o trabalho. Ao Énio Abreu pela grande ajuda na recolha de questionários em Serralves. Ao Miguel Oliveira pela ajuda na recolha de preços e sugestões técnicas. Aos meus colegas e amigos que de certa forma contribuíram para que fosse possível chegar a esta fase do meu percurso académico, muito em especial à Cíntia, mas também ao Luís, ao Pedro e ao João pelo apoio e espírito ao longo destes anos. i A Acústica de Museus Modernos. Estudo de caso, o Museu de Serralves (Porto) ii A Acústica de Museus Modernos. Estudo de Caso, o Museu de Serralves (Porto) RESUMO O interesse crescente na melhoria da qualidade dos edifícios leva a que a Acústica seja cada vez mais uma prioridade, especialmente em espaços públicos. Com o presente trabalho, que se insere na área de estudos em Acústica de Edifícios, pretende-se caracterizar o desempenho acústico dos Museus “Modernos” e estudar o caso concreto do Museu de Serralves, no Porto. Para a definição das necessidades acústicas dos museus inicia-se o tema com uma reflexão sobre a função e papel do museu na sociedade, e a caracterização arquitectónica deste tipo de edifícios. Permitindo com isso prever as necessidades específicas de um baixa reverberação, baixos níveis de ruído de fundo e de boas condições de inteligibilidade da palavra. Mediante isto, apresentam-se algumas recomendações de valores para estes parâmetros. No que respeita ao Museu de Serralves, é um Museu de Arte Contemporânea, pertencente à Fundação de Serralves, classificada como “Imóvel de Interesse Público”, e foi projetado pelo arquiteto Álvaro Siza Vieira tendo sido inaugurado em 1999. O edifício apresenta as características de uma arquitetura contemporânea, entre outros, com superfícies muito lisas e refletoras, pé-direito elevado e volumes muito expressivos. A avaliação da qualidade acústica do Museu de Serralves foi realizada com base em parâmetros objetivos e subjetivos, através de medições de TR, LAeq, RASTI e de inquéritos aos visitantes. Relativamente às medições, estas foram efetuadas em três salas de exposição representativas (salas 11, 12 e 14). Nestas, obtiveram-se valores de TR[500, 1k, 2k] entre 3,8 s e 4,1 s. Os valores de LAeq medidos estão compreendidos entre 27 dB e 41 dB, com variação de -9 dB a -1 dB para a situação em que o AVAC está desligado e de +25 dB a +36 dB para a situação em que existem visitantes. Os valores de RASTI médios obtidos foram de 0,40 a 0,45. Quando comparados os valores medidos com os aconselhados por diversos autores e pelos recomendados neste trabalho (TR[500, 1k, 2k] entre 1,0 e 1,4 s, LAeq máximo de 40 dB e RASTI ≥ 0,60), conclui-se que o Museu de Serralves apresenta um ambiente sonoro de inferior qualidade face aquele que seria desejável. Vem-se ainda comprovar a partir da análise subjetiva, pela opinião dos visitantes, que a situação acústica atual do museu não é a ideal. De forma a possibilitar o enquadramento da qualidade acústica do Museu de Serralves no ambiente museológico realizou-se a comparação com outros museus, de onde se percebe que também aqui os resultados deste museu superam, de forma negativa, a média dos restantes. As conclusões retiradas possibilitaram, assim, a apresentação de algumas sugestões de possível correção acústica, as quais permitiram enquadrar a qualidade acústica do Museu de Serralves nos valores recomendados neste trabalho, apresentando um custo total previsível entre 59.000 € e 173.000€. Apresentam-se por fim, algumas sugestões para desenvolvimentos futuros deste tema que por algum motivo não foram neste trabalho aprofundados. PALAVRAS-CHAVE: Acústica, Museus, Reverberação, Ruído de Fundo, RASTI, Porto. iii A Acústica de Museus Modernos. Estudo de caso, o Museu de Serralves (Porto) iv A Acústica de Museus Modernos. Estudo de Caso, o Museu de Serralves (Porto) ABSTRACT The growing interest in improving the quality of buildings means that acoustics is increasingly a priority, especially in public spaces. With this work, which falls within the study area of Building Acoustics is intended to characterize the acoustic performance of "Moderns" Museums and case of study of the Serralves Museum in Porto. To define the acoustic needs of a museum this work begins with a reflection on the museum's function and role in society, and the characterization of this type of buildings. Allowing it to predict the specific needs of a low reverberation, low levels of background noise and good conditions for speech intelligibility. Through this, some recommendations are presented for values of these parameters. The Serralves Museum is an Museum of Contemporary Art, owned by The Serralves Foundation, classified as "Property of Public Interest" and was designed by architect Alvaro Siza Vieira, and was inaugurated in 1999. The building presents the characteristics of a contemporary architecture, among others, with very smooth and reflective surfaces, high ceilings and very expressive volumes. The evaluation of acoustic quality of the Serralves Museum was based on objective and subjective parameters through measurements of RT, LAeq, RASTI and inquiries to visitors. The measurements were made in three representative exhibition halls (rooms 11, 12 and 14). Accordingly, we obtained values of RT [500, 1k, 2k] for 3.8 s to 4.1 s. The LAeq were measured 27 dB to 41 dB with a variation there of -9 dB to -1 dB for the situation where the HVAC is off and +25 dB to + 36 dB for the situation where there are visitors. RASTI average values obtained were 0.40 to 0.45. When comparing the measured values with those recommended by several authors and recommended in this thesis (RT [500, 1k, 2k] between 1.0 and 1.4 s, maximum LAeq below 40 dB and RASTI ≥ 0.60), concludes that the Serralves Museum presents a poor acoustic behavior. It is further evidence comes from the subjective analysis, the opinions of visitors, the museum's current acoustic situation is not ideal. A comparison with other museums was done where one realizes that here too the acoustic results outweigh this museum, in a negative way, the average of the others. Some suggestions for acoustic corrections to improve the acoustics of the Serralves Museum into the values recommended in this work are presented, with a total predicted cost between 59.000 € and 173.000 €. Finally some suggestions for future developments of this issue are presented. KEYWORDS: Acoustics, Museums, Reverberation, Background Noise, RASTI, Porto. v A Acústica de Museus Modernos. Estudo de caso, o Museu de Serralves (Porto) vi A Acústica de Museus Modernos. Estudo de caso, o Museu de Serralves (Porto) ÍNDICE GERAL AGRADECIMENTOS ................................................................................................................................... i RESUMO ..................................................................................................................................
Load more

Recommended publications
  • National Arts Awards Monday, October 19, 2015
    2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States.
    [Show full text]
  • Paulacoopergallery
    P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE CLAES OLDENBURG & COOSJE VAN BRUGGEN THINGS AROUND THE HOUSE 534 W 21st Street November 7 – December 19, 2015 Opening reception: November 12, 6 – 8 pm NEW YORK—Things Around the House, an exhibition of works by Claes Oldenburg and Coosje van Bruggen, will be on view at Paula Cooper Gallery from November 7 through December 12. The exhibition includes nearly 100 works from the house and studio where Oldenburg has lived since 1971 and which he shared with his wife and partner Coosje van Bruggen from 1976 until her passing in 2009. By offering an intimate look at works that stayed on with the artists, the exhibition presents a unique view into a creative practice whose end Oldenburg has described as “developing a language of both exterior and interior life, in one expression.” Embracing what he calls “the poetry of everywhere,” Claes Oldenburg reimagines commonplace objects in distorted scale, materiality and hue. His exaggerated forms breathe vitality and tactile lyricism into ubiquitous or overlooked articles. The works on view in Things Around the House render fantastic or unfamiliar subjects that are usually prosaic and mundane. The exhibition also illuminates the artist’s cumulative approach to art making. His engagement with objects through sketches, writings, models and drawings is a constant process over decade- long periods of coexistence. The artist asserts: “Process is what keeps a thing alive, one thing leads to another. One has to do more to it – intensify color, play with material and scale, subject the form to gravity, make it collide with another object, turn it upside down or bury it halfway into the ground - so that it opens up multiple associations.” Claes Oldenburg was born in Stockholm, Sweden, in 1929.
    [Show full text]
  • Philharmonic Au Dito R 1 U M
    LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living.
    [Show full text]
  • Correia, Artur Manuel Gouveia, 1988- Lugar, Espaço E Movimento: O Percurso Como Elemento Fundamental Da Arquitectura
    Universidades Lusíada Correia, Artur Manuel Gouveia, 1988- Lugar, espaço e movimento: o percurso como elemento fundamental da arquitectura http://hdl.handle.net/11067/258 Metadados Data de Publicação 2013-04-29 Resumo A dissertação desenvolvida tem como principal tema o percurso como elemento fundamental da arquitectura. Para a sua realização, parte-se da ideia do percurso, como elemento dinamizador de um projecto de arquitectura, explicado e percebido através de três factores: o lugar, o espaço e o movimento. Estes três temas, são abordados, através de uma perspectiva da arquitectura onde é identificada a ideia de um percurso, que se relaciona com esta, numa ordem sequencial de acontecimentos. Definidos at... Palavras Chave Lugar (Filosofia) na arquitectura, Espaço (Arquitectura), Movimento (Filosofia) Tipo masterThesis Revisão de Pares Não Coleções [ULL-FAA] Dissertações Esta página foi gerada automaticamente em 2021-10-10T17:22:23Z com informação proveniente do Repositório http://repositorio.ulusiada.pt U NIVE RSID ADE LUSÍ ADA DE L ISBO A Fac uldad e de Arquitectura e A rtes Mestrado integ rado em Arquitectura Lugar, espaço e movimento: o percurso como elemento fundamental da arquitectura Realizado por: Artur MManuel Gouveia Correia Orientado por: Prrof. Doutor Arqt. Fernando Manuel Domingues Hipólito Constituição do Júri: Presidente: Prof. Doutor Arqt. Joaquim José Ferrão de Oliveira Braizinha Orientador: Prof. Doutor Arqt. Fernando Manuel Domingues Hipólito Assistente de orientação: Mestre Arqt. José Maria de Brito Tavares Assis
    [Show full text]
  • Paulacoopergallery.Com
    P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE Claes Oldenburg & Coosje van Bruggen There is no such thing as a perfect lamb chop 243A Worth Avenue, Palm Beach, FL December 5, 2020 – January 9, 2021 PALM BEACH, FL—An exhibition of work by Claes Oldenburg and Coosje van Bruggen titled “There is no such thing as a perfect lamb chop”1 marks the inauguration of Paula Cooper Gallery’s new seasonal pop-up at 243A Worth Avenue opening on Saturday, December 5, 2020. The couple first began their working partnership in 1976 and, over the course of the next three decades, produced an extensive body of drawings, sculptures, and public commissions. The presentation at Paula Cooper Gallery includes examples from these important collaborative years, as well as works by Oldenburg made before their meeting and after van Bruggen’s passing in 2009. In celebration of the vibrant life of Palm Beach and the surrounding area, “There is no such thing as a perfect lamb chop” presents a selection of drawings and sculptures by Oldenburg and van Bruggen, with a focus on their representations of food, sport, music, and other articles of pleasure. These striking images reinvent quotidian objects, using line and form to playfully merge natural elements with the irreverent and the fantastical. In the duo’s 2007 pastel drawing, an anthropomorphized shuttlecock performs a feat of superhuman acrobatics across the rotunda of the Guggenheim Museum. Elsewhere, Oldenburg’s canvas-and-resin tomates farcies entice and charm viewers with their luscious hue and supple surfaces.
    [Show full text]
  • Gaiás Cidade Da Cultura
    ENG 8 GAIÁS, CITY OF CULTURE 10 ARCHITECTURE 12 THE CITY OF CULTURE IN FIGURES 13 GAIÁS CENTRE MUSEUM 14 LIBRARY AND ARCHIVE OF GALICIA 15 CINC. NEW TECHNOLOGIES BUILDING 16 GAIÁS CENTRE FOR ENTREPRENEURSHIP (CEM) 17 HEJDUK TOWERS AND OUTDOOR SPACES 18 FOREST OF GALICIA AND GREEN AREAS 19 CULTURAL PROGRAM 20 EVENTS 21 MAP 6 GAIÁS—CITY OF CULTURE cidadedacultura.gal GAIÁS, CITY OF CULTURE The City of Culture presents itself as a driver to promote innovative projects in the field of culture, entrepreneurship and technology, and a point to connect Galicia to the rest of the world. Built on the top of Mount Gaiás, one of the hills surrounding Santiago de Compostela, this city that seems to emerges from the earth stands as an architectural icon of modern Galicia, in dialogue with the centuries- GAIÁS CENTRE LIBRARY AND old Compostela, a World Heritage site and MUSEUM ARCHIVE OF destination of the Way of Saint James. Its beauty and versatility GALICIA render this the perfect venue They preserve the bibliographical Open to the public since the year 2011, the to host temporary exhibitions, and documentary memory of City of Culture of Galicia was inaugurated performing arts shows and large- Galicia, and they act as the head scale events. of the public network of libraries by the then Prince and Princess of Asturias, and archives. now their majesties King Felipe de Borbón and Queen Letizia, of Spain. This powerful infrastructure, surrounded by nature areas, houses these four buildings: 7 GAIÁS—CITY OF CULTURE cidadedacultura.gal GAIÁS CENTRE CENTRE FOR GREEN AREAS FUNDACIÓN CIDADE FOR ENTREPRE- CULTURAL On the slopes of Mount Gaiás DA CULTURA DE NEURSHIP INNOVATION grows the Forest of Galicia, with GALICIA over nine thousand native trees.
    [Show full text]
  • Master Class with Isaac Stern
    MASTER CLASS WITH ISAAC STERN Tuesday, November 2, 1999 4:00 p.m., Stude Concert Hall The Shepherd School of Music Rice University Houston, Texas String Quartet ill D minor, Op. 76 o.2 "Quinte11n Franz Joseph Haydn f. Allegro (1732-1809) Gotham String Quartet lun Jiang, violin Quan Jiang, violin Sheila Browne, viola Cheng-Hou lee, cello String Quartet in D Major, K. 5 75 Wolfgang Amadeus Mozart !. A llegrello (1756-1791) Jonathan Godfrey, violin Heather leDoux, violin Mal/hew Dane, viola Louis-Marie Fardet, cello String Quartet in G Major, D. 887 Franz Schubert I. Alleg,v mo/to moderato (1797-1828) Liza Zurlinden, violin Gillian Clements, violin Robert Meyer, viola Clara Lee, cello This event is sponsored by The Shepherd School of Music and by Brazos Bookstore withflmdingfrom Brows Project. Please join us at 7:30 p.m. in Stude Concert Hal/for A Conversation with Isaac Stern when Mr. Stern and Raphael Fliegel will discuss Mr. Stern's new memoir Isaac Stern: My Fir t 79 Years. Book signing will follow. ISAAC STER is recognized worldwide as one of the foremost violinists of this cenrury. Throughout his more than fifty years as a pro­ fessional musician, he has appeared on the world's most prestigious concert stages, guided the careers of counties young musicians, and de­ voted himself to the advancement of the arts nationally and internationally. Mr. tern is one of the most recorded musical artists of our time, with more than 100 recordings of over 200 works by 63 composers to his credit He has been an exclusive Sony Classical (formerly CB Masterworks) recording artist for 50 years and was named that label's first "Anisa Laureate" in 1985 in recognition of ahis long-standing association.
    [Show full text]
  • Imagined Geographies, Interstitial Futures, Guatemex Claudia Costa Pederson
    Media Art, landscape and heritage: Papers Imagined Geographies, Interstitial Futures, Guatemex Claudia Costa Pederson School of Art and Design, Wichita State University Wichita, Kansas, United States [email protected] Abstract river between Frontera Corazal, a Ch’ol community in This paper examines Guatemex (2006), an intervention at the borer of Chiapas, Mexico, and Bethel, Guatemala, two border Mexico and Guatemala by three Mexican artists, Rene Hayashi, Eder settlements separated by the river and surrounded by Castillo, and Antonio O’Connel. I discuss the project’s significance in the Lacandon jungle. Built with locally found materials, relation to its conception as a concrete response to local needs, as it was the construction can be seen as a combination of site- designed to provide internet access and information to undocumented specific installation, and environment that is outwardly migrants crossing the interstitial space of Usumacinta River, the fluid evocative of vernacular buildings and structures found border between Mexico and Guatemala. In this light, I also consider throughout Latin America, as well as traces to native how Guatemex builds on, speaks to, and expand on notions about American constructions like the chinampas (the floating architecture, “border art”, “imagined geography”, utopian community, gardens of the Aztecs), and European notions of and “securitization”. The focus of discussion is on the project’s structuralist architecture.1 negotiation of these terms, and on its relevance as an intervention that suggests connecting and thinking with the margins as one of today’s most ur-gent projects. Keywords Architecture, Art, Border, Media Art, Utopia, Intervention, Mexico, Guatemala, Immigration, South. Introduction “If they are not meant for children, they are not meant for citizens either.
    [Show full text]
  • Proceedings Viiith International Docomomo
    international working party for documentation and conservation of buildings, sites and neighborhoods of the modern movement Proceedings VIIIth International Conference Import-Export: Postwar Modernism in a Expanding World, 1945-1975 Editors Theodore H.M. Prudon Hélène Lipstadt DOCOMOMO International DOCOMOMO US New York, 2008 In memory of Paul S. Byard (1939-2008) His enthusiastic support made this conference a success Contents The VIIIth International DOCOMOMO Conference Import-Export: Postwar Modernism in an Expanding World, 1945-1975 Preface Influence And Transformation: The Saskatchewan Power Theodore H. M. Prudon and Hélène Lipstadt ............................ 1 Corporation Headquarters Bernard Flaman ....................................................................... 67 DOCOMOMO US and Change in Preservation in America Theodore H. M. Prudon and Hélène Lipstadt ............................ 3 A Modern Museum in an Old House by the Sea: Lina Bo Bardi and the Modernism of Bahia The 2004 Conference Theme Silvana Rubino ........................................................................ 73 Hélène Lipstadt.......................................................................... 5 Augusto H. Álvarez: Pioneer and Innovator of Mexican Modernity María de Lourdes Cruz González Franco ............................... 79 INTERNATIONALIZATION ....................................................... 7 From International to National and Back: the heritage of Modern Jaqueline Tyrwhitt, Sandy Van Ginkel, Blanche Lemco and Movement in the new
    [Show full text]
  • Nomination for the 2022 Wolf Prize
    NOMINATION FOR THE 2022 WOLF PRIZE INSTRUCTIONS FOR NOMINATING CANDIDATES IN ARCHITECTURE The Wolf Prizes in the sciences and the arts are awarded annually since 1978 to outstanding scientists and artists for their achievements for the benefit of humanity and brotherly relations among people, regardless of nationality, race, color, religion, sex, or political views. To date, 354 scientists and artists from all over the world have been awarded the prestigious Wolf Prize. Prize fields in sciences include Agriculture, Chemistry, Mathematics, Medicine, and Physics. Prize fields in the Arts include Architecture, Music, Painting and Sculpture. Every year, the Wolf Foundation awards four prizes in the Sciences and one prize in the Arts. Each prize consists of a diploma and 100,000$. In the event of co-recipients sharing one prize, the honorarium is equally divided among them. Previous Wolf Prize laureates in architecture include Arc. Moshe Safdie, Arc. David Chipperfield, Arc. Phyllis Lambert, Arc. Eduardo Souto de Mouro, Arc. Peter Eisenman, Arc. Ralph Erskine, Arc. Fumihiko Maki, Arc. Jean Nouvel, Arc. Giancarlo De Carlo, Arc. Álvaro Siza, Arc. Frank O. Gehry, Arc. Aldo Van Eyck, Arc. Frei Otto, Arc. Denys Lasdun, and Arc. Jorn Utzon. Process of Nomination GENERAL 1. In accordance with the Wolf Prize principle of rotation, candidate(s) for the 2022 prize can be nominated only in one of the following five fields: Agriculture, Chemistry, Mathematics, Physics, and Architecture. 2. One, two or three candidates may be nominated to receive the prize. Joint nomination recognizes collaborative work or work contributing similarly or additively to the same field. In this case, each candidate should be nominated using a separate form, with the jointly filed candidate mentioned in the appropriate place.
    [Show full text]
  • Boletim Informativo
    BOLETIM INFORMATIVO 1 Ficha Técnica: MELRO, Maria do Céu Boletim informativo: mostra bibliográfica: Álvaro Siza Vieira e Eduardo Souto de Moura / Maria do Céu Melro; colab. Waldino Monteiro. - Porto : [Biblioteca Multimédia], 2011. Mostra bibliográfica -- Boletim / Vieira, Álvaro Siza, 1933- -- Arquiteto português / Moura, Eduardo Souto de, 1952- -- Arquiteto português / Bibliografia -- Biblioteca Multimédia, Universidade Fernando Pessoa CDU 012 2 Sumário Nota prévia …………………………………………………………………………….. 4 Álvaro Siza Vieira ………………………...…..…………………...………………….. 5 Obras significativas ……………………………………………...…………………….. 7 Prémios e distinções ……...………………………………………………...………… 13 Notícia bibliográfica ……………...………………………………………...………… 16 Eduardo Souto de Moura ………………………...…..…………………………….. 31 Obras significativas ……………………………………………...…………..……….. 32 Prémios e distinções ……...………………………………………………...………… 34 Notícia bibliográfica ……………...………………………………………...………… 36 3 Nota prévia Este boletim informativo da Mostra Bibliográfica intitulada «Arquitetos portugueses: Álvaro Siza Vieira e Eduardo Souto de Moura», exposta na Sala Interativa da Biblioteca Multimédia da UFP, pretende destacar os arquitetos mencionados e informar o público da Universidade Fernando Pessoa sobre os documentos que integram o espólio da Biblioteca. Sendo assim, apresentamos, neste boletim, os materiais (livros e publicações periódicas) que existem na Biblioteca Multimédia sobre estes dois arquitetos. 4 Álvaro Siza Vieira 5 ÁLVARO SIZA VIEIRA ARQUITETO PORTUGUÊS (1933- ) 1933: A 25 de Junho, nasce
    [Show full text]
  • Michael Brown, Piano Chamber Music at the Barns OCT 2 | 7:30 PM
    Front Row Series Michael Brown, piano Chamber Music at The Barns OCT 2 | 7:30 PM PROGRAM SAMUEL BARBER (1910-1981) Souvenirs for Piano, Four Hands, Op. 28 (1951) Waltz Schottische Pas de deux Two-step Hesitation-tango Galop Michael Brown, piano; Gilles Vonsattel, piano MICHAEL BROWN (b. 1987) Prelude and Dance for Cello and Piano (2014, rev. 2017) Nicholas Canellakis, cello; Michael Brown, piano FELIX MENDELSSOHN (1809-1847) Sextet in D major for Piano, Violin, Two Violas, Cello, and Double Bass, Op. 110 (1824) Allegro vivace Adagio Menuetto: Agitato Allegro vivace Michael Brown, piano; Chad Hoopes, violin; Paul Neubauer, viola; Matthew Lipman, viola; Nicholas Canellakis, cello; Joseph Conyers, double bass Q&A with Michael Brown following performance. ABOUT THE ARTISTS MICHAEL BROWN Michael Brown has been described as “one of the leading figures in the current renaissance of performer-composers” (The New York Times). Winner of a 2018 Emerging Artist Award from Lincoln Center and a 2015 Avery Fisher Career Grant, he is an artist of the Chamber Music Society of Lincoln Center and an alum of CMS' Bowers Program. He makes regular appearances with orchestras such as the National Philharmonic, the Seattle, Grand Rapids, North Carolina, and Albany symphonies, and was selected by pianist András Schiff to perform an international solo recital tour, making debuts in Zurich’s Tonhalle and New York’s 92nd Street Y. He has appeared at the Tanglewood, Mostly Mozart, Marlboro, Ravinia, Music@Menlo, Tippet Rise, Bridgehampton, and Bard music festivals and performs regularly with his longtime duo partner, cellist Nicholas Canellakis. A prolific composer, Brown wrote a Piano Concerto that was scheduled to premiere in 2020 at the Gilmore Festival and by the NFM Leopoldinum Orchestra in Poland.
    [Show full text]