Vihara architecture: defining the existential foothold of VIII century Buddhist monastery "Somapura Mahavihara" of ancien Bengal

Lost in history, the ruin of ‘Somapura Mahavihara’ was not recognized separated from its birthplace, i.e. nature, for more than 700 years. Yet, within its silent presence, the monument dominated the name of the region: ‘Paharpur’ (land of hillock), according to its appearance surrounds by its flat land topo¬graphy. Discovered in 1919, the single largest Buddhist Vihara (monas¬tery) of ancient Bengal came into light, pronouncing the flou¬rishing minute of Buddhist architecture, once dominant religious force of the subcontinent. The earliest historical monumental architecture of greater Asia, had long been deriving itself from the Buddhist monastic architecture as early as VI century BC. In line of history, the discovery of ‘Somapura Mahavihara’ contributed attesting the sensitivities of a highly sophisticated architectonic typology of Vihara Architecture in the land of ancient Bengal. The recovery of ‘Somapura Mahavihara’ was not only from its cradle of nature, but also from its remarkable existence imprinted in the reign of Pala dynasty (750 - 1155 AD) announcing the existential foothold of man in his nature. The existential foothold of ‘Somapura Mahavihara’ comprises the factors, responsible in shaping the anchorage of the mo¬nument since the birth of Vihara architecture, as early as 530 BC. These factors not only denote the building technology in response to its environment but also the amalgamation of be¬lief, upon which the dwellers transformed the site as a place announcing their existence on earth. This research paper aims at exploring the existential foothold of ‘Somapura Mahavihara’, in terms of its territorial, functional, structural, social, cultural, religious sym¬bolic hierarchies of human achievement while clarifying the architectonic typology that shaped ‘Somapura Mahavihara’ through evolution process of ‘Vihara Architecture’. This understanding intends to combine the archaeological knowledge with comparative architectural analysis of contem¬porary Viharas of ancient Bengal, to define the singularity of ‘Somapura Mahavihara’. In consequence, the glorious past of ‘Somapura Mahavihara’ is intended to portray through iden¬tifying the relation of religious and functional rationalism with the connotation of art, architecture and belief moulded within natural forces, as one complete entity; RESUMO: Vihara Arquitetura: Definindo a posição existencial do século VIII Budista mosteiro “Somapura Mahavihara” de Bengala antiga. Perdidas na História, as ruínas de ‘Somapura Mahavihara’ foram confundidas com uma montanha durante mais de setecentos anos. Contudo, no seu silêncio presente, o monumento marcou a toponímia da região; ‘Paharpur’ significa ‘a terra do outeiro’, evidenciando a singularidade deste monumento numa região dominada por uma extensa planície. Em 1919, foi descoberto o maior mosteiro budista da antiga região de Bengal, demonstrando a prosperidade da arquitectura budista. Tem¬poralmente, a descoberta de ‘Somapura Mahavihara’ contribuiu para atestar a evolução e a sofisticação da tipologia arquitectónica denominada ‘Arquitectura Vihara’, existente na antiga região de Bengal. A noção de pegada existencial de ‘Somapura Mahavihara’ compreende os factores responsáveis por moldar a ancoragem do monumento ao lugar em que se insere desde o início da arquitectura Vihara, que remonta a 530 a.C. Estes factores evidenciam a tecnologia construtiva empregue para responder ao ambiente envolvente mas também a evolução da religião, factores estes que os monges construtores consideraram ao transformar o lugar e anunciar a sua existência na Terra. Esta investigação tem por objectivo explorar a noção de pegada existencial de ‘Somapura Mahavihara’, nas suas dimensões territoriais, funcionais, estruturais, sociais, culturais e nas hierarquias simbólicas das realizações humanas para clarificar a tipologia arquitectónica que deu forma a ‘Somapura Mahavihara’ durante a evolução da arquitectura Vihara. Este entendimento pretende combinar/cruzar o conhecimen¬to arqueológico com estudos arquitectónicos comparativos de Viharas na antiga região de Bengal, com o objectivo de definir a singularidade de ‘Somapura Mahavihara’. Neste estudo estudar-se-á também o confronto entre a dimensão religiosa e a artística (divino vs. humano), integrados na arquitectura de ‘Somapura Mahavihara’ em perfeita harmonia.

The application of symphytosociology in landscape architecture in the Western Mediterranean

This essay addresses the application of indigenous plants in Landscape Architecture projects, based on studies carried out in the field of phytosociology and sinphytosociology. Through this knowledge, it is possible to increase and improve the use of indigenous plants in Projects, aiming at the preservation of biodiversity. Thus, to better understand the western Mediterranean territory, we present a brief biophysical characterization, in which we point out the main factors which contribute to the ground coverage’s distribution in the landscape, namely, concerning climate (oceanity, ombroclimate and thermoclimate) and substrate (geology and lithology). In view of the high level of uniqueness of the identified conditions, a synthesis of the potential main existing climatophilous woods is carried out, regarding sinphytosocialogical class/order, furthermore, pointing out, the main serial stages, their vegetation bioindicators and the ecological peculiarities of each stage (regressive or progressive). Therefore, based on the study area, we point out the vegetation bioindicator’s value as a work tool during analysis, thus allowing us to understand the existing edaphoclimatic conditions, as well as to elaborate a quick diagnosis of each potential climatophilous vegetation series. Moreover, based on the main stages of substitution, it is also possible to identify the presence of endemic plants, or under protection status, and finally, the conservation state of the study area. Further ahead, in project proposal phase, based on information gathered previously, we point out the possibility of elaborating a list of plants correctly adapted to the existing mesologicall conditions. Thus, within each serial stage, the necessary ecological conditions for a correct adaption of the vegetation material are referred, therefore, avoiding possible limiting factors to their development, such as precipitation, soil erosion, light availability, salinity, among many others. Lastly, some considerations are made about the main ideas that should be remembered throughout this essay, namely, regarding the importance of the use of sinphytosociology’s knowledge as an analysis tool, as well as of high interest for the elaboration of proposals which aim at the floristic heritage’s conservation and the landscape’s scenic quality. Ce travail traite de l`application de plantes autochtones dans des projets d`Architecture Paysagiste ayant pour base des études réalisées dans le cadre de la phytosociologie et Symphytosociologie. À travers ces connaissances, il est possible d`incrémenter et améliorer l`utilisation de plantes autochtones dans les Projets basés sur la conservation de la biodiversité. Ainsi, afin de mieux comprendre le territorie de la méditérrannée occidentale, on présente une brève caractérisation biophysique, dans laquelle nous soulignons les principaux facteurs qui contribuent à la répartition de la végétation dans le paysage, notamment au niveau climatique (l`océanité, ombrothermique et thermoclimatique) et du substrat (géologie et lithologie). Face aux conditions, identifiées ci-dessus, élévées en originalité, il est utile d`élaborer une synthèse des principaux bois potentiels climatophiles existants au niveau de la classe/ordre symphitosociologique, en soulignant également les principales étapes de série, leurs bioindicateurs végétaux et aux particularités écologiques de chaque étape (régressive ou progressive). Ainsi, sur la base de l`interprétation de la zone d`étude, le bioindicateur végétal se distingue comme un outil de travail durant l`analyse, permettant de cette façon comprendre les conditions édapho-climatiques existantes, ainsi comme élaborer un rapide diagnostic de chaque série de végétation potentielle climatophile. En outre, sur la base des principales étapes de remplacement, il est également possible d`identifier la présence de plantes endémiques, ou avec un statut de protection et enfin l`état de conservation de la zone d`étude. Déjà au stade de proposition du projet, basée sur l`information recueillie précédemment, il y a la possibilité d`établir une liste de plantes bien adaptées aux conditions mésologiques. Ainsi, dans chaque étape de série, les conditions écologiques nécessaires à une bonne adaptation de la matière végétale sont référées, évitant ainsi des facteurs limitant à son développement, tels que les précipitations, l`érosion des soís, disponibilité de la lumière, de la salinité, parmi beaucoup d`autres. Et enfin, quelques considérations se tissent sur les principales idées à retenir tout au long du travail, notamment l`importance d`utiliser la connaissance de la symphytosociologie comme un outil d`analyse d`un grand intérêt pour la développement de propositions pour la conservation du patrimoine floristique et la qualité pittoresque du paysage.

Decorative tiles between Brazil and Europe: the case of the Santa Catharina factory

Abstract It was in the first decade of the twentieth century that the first white china Factory was implemented in Brazil. Fruit of the association between the Sao Paulo Aristocracy and the Italian Romeo Ranzini, this factory was responsible for producing significant amounts of crockery in industrial moulds in sao Paulo, Brazil. It was also the first factory to produce decorative tiles that would be part of the architecture of the public buildings built between 1919 and 1922 in Commemoration of the Centennial of the Brazilian Independence. Known as The Santa Catharina Factory, this factory was inaugurated in 1913 with the participation of Italian immigrants and German technologies for the development of its first manufacturing activities. As a result of a number of economic, political and social matters that started in the previous century in the city of Sao Paulo, The Santa Catharina factory played an important role in industrial development as regards the production of national white china and was used as a model for the construction of new ceramic factories in Sao Paulo. After acquired by Matarazzo industries in 1927, had closed their activities in 1937. This research is based on the identification and analysis of the first tiles produced in Brazil by the Santa Catharina Factory, which were part of the architectural decorations of the buildings built in Sao Paulo to the celebration of the Centennial of the Brazilian Independence. Designed by Victor Dubugras, The Largo da Memoria (located in the city of Sao Paulo) and the buildings located in the "Paths of the Sea" road marked the beginning of Brazilian industrialization and the emergence of Neocolonial Movement in architecture of Sao Paulo. Studies of the first national patterns of decorative tiles approach a subject poorly researched by experts in tiled studies in Brazil, although in this case these tiles have represented not only an important milestone in the national industrialization, but also have demarcated the significant changes in architectural and decorative practices in the country in the early twentieth century; RESUMÈ: C'est durant la premiere decennie du XXe siecle que la premiere usine de porcelaine blanche fut implant& au Bresil. Elle fut le fruit de l'association entre l'aristocratie de Sao Paulo et l'italien Romeo Ranzini. L'usine produisait une quantite signifiante de porcelaine sur le territoire industriel de Sao Paulo. Ce fut egalement la premiere usine a produire des carreaux decoratifs qui sont aujourd'hui visibles dans l'architecture des batiments publics construit entre 1919 et 1922, pour la commemoration du centenaire de l'independance bresilienne. Connue sous le nom de Santa Catharina, cette usine fut inaugure en 1912. Elle fut construite par des émigrés Italiens, et utilisa pour la technologie allemande pour so production. En tant que resultat d'un certain nombre de questions economiques, politiques et sociales qui ont &butes durant le siecle precedent dans la ville de Sao Paulo, l'usine Santa Catharina a joue un role important dans le developpement industriel de la production de porcelaine blanche nationale et a ete utilise comme modele pour la construction de nouvelles usines de ceramique a Sao Paulo. Apres avoir ete achete par l'industrie Matarazzo en 1927, elle cessa ses activites en 1937. Cette recherche est basee sur l'identification et l'analyse des premiers carreaux decoratifs fabriques au Bresil par l'usine Santa Catharina, qui etait une partie des decorations architecturales des batiments construits a Sao Paulo pour la celebration du centenaire de l'Independance Bresilienne. Connue par Victor Dubugras, le "Largo da Memoria" (situe dans la ville de Sao Paulo), et les batiments situes sur le "Path of the Sea", ont marque le debut de l'industrialisation bresilienne et l'emergence d'un mouvement neocolonialiste dans l'architecture de Sao Paolo. L'etude des premiers modeles nationaux de carreaux decoratifs est un sujet peut etudie par les experts bresiliens, bien qu'ils furent un jalon importante pour l'industrialisation nationale. Its ont egalement entrains des changements importants dans les pratiques architecturales, et decoratives au sein du pays au XXe siecle. Mots-cles: Ceramique - carreaux decoratifs — L'usine Santa Catharina, Bresil - Production de carreaux; RIASSUNTO: Nel primo decennio del Novecento vide luce la prima fabbrica di ceramica di porcellana in Brasile. Frutto dell'associazione tra l'aristocrazia Paulista e l'italiano Romeo Ranzini, questa fabbrica fu responsabile della produzione di notevoli quantita di ceramica di porcellana mediante stampi industriali nella citta di San Paolo, Brasile. Fu anche la prima fabbrica a produrre azulejos che avrebbero poi fatto parte dell'architettura degli edifici pubblici costruiti tra it 1919 ed it 1922, per la commemorazione del Centenario dell'indipendenza Brasiliana. Conosciuta come Fabbrica di Santa Catharina, questa fu inaugurata nel 1913, con la partecipazione di immigrati italiani e con l'impiego di tecnologie tedesche per lo sviluppo delle sue prime attivita produttive. Risultato di una serie di cambiamenti economici, politici e sociali, che ebbero inizio nel secolo precedente nella citta di San Paolo, la Fabbrica di Santa Catharina svolse un ruolo importante nello sviluppo industriale per quanto riguarda la produzione di ceramica di porcellana nazionale e fu adottata come modello per la costruzione di nuove fabbriche a San Paolo. Successivamente, fu acquisita dalle industrie Matarazzo nel 1927, vedendo poi chiudersi le sue attivita nel 1937. Questa ricerca si basa sull'identificazione e l'analisi dei primi azulejos prodotti in Brasile dalla Fabbrica di Santa Catharina che fecero parte delle decorazioni architettoniche degli edifici costruiti a San Paolo per la commemorazione del Centenario dell'indipendenza Brasiliana. Progettati da Victor Dubugras, it Largo da Mem(Via (situato nella citta di San Paolo) e gli edifici che si trovano nei Caminhos do Mar marcarono l'inizio dell'industrializzazione brasiliana e la nascita del Movimento Neocolonial dell'architettura Paulista. Gli studi dei primi modelli di azulejos nazionali affrontano un argomento poco studiato dagli esperti in azulejaria in Brasile, nonostante rappresentino un importante avvenimento dell'industrializzazione nazionale, ma segnano anche i cambiamenti di significative pratiche architettoniche e decorative nel Paese nel primo Novecento. Parole chiave: Ceramica - porcellana - La fabbrica di Santa Catharina - Produzione di ceramica .

Lugares de montanha: proposta de reactivação de uma aldeia do Vale do rio Ceira, Serra da Lousã

O território da Serra da Lousã, quase desabitado e profundamente descaracterizado, esconde lugares em ruína e indícios de vivências passadas que a montanha teima em reclamar. Importa recuperar esses lugares reinventando-os, sob pena de se perderem com o passar do tempo e o avanço do meio natural. Este trabalho debruça-se sobre um dos lugares abandonados desta serra, a Silveira de Baixo, procurando nas suas raízes oportunidades para uma reactivação. Estuda a hipótese de tornar a aldeia e esta parte da serra, acessíveis a pessoas portadoras de deficiências, físicas ou cognitivas, tendo assim um duplo objetivo: permitir o acesso para todos a lugares de grande beleza natural e reactivar uma economia local que permita um desenvolvimento sustentado, através de actividades e produtos nativos deste território, conservando assim alguns dos seus saberes ancestrais. Desenha-se deste modo o início de uma comunidade, experimentando um equilíbrio entre o antigo e o contemporâneo, negando a musealização do lugar que o pode tornar estéril e constitui um impedimento no retorno de vida a este território. Assim, o trabalho experimenta o papel da arquitectura na reactivação de um lugar antigo e com marcas, preservando os seus elementos notáveis e com eles construindo novas espacialidades que ajudem ao estabelecimento de vivências contemporâneas; Mountain setlements: Proposal for reactivating an abandoned village in Ceira river valley, Lousã mountain range Abstract: The Lousã mountain range, almost uninhabited and profoundly decharacterized, speaks to us through its ruins about ways of living that ceased to exist. It is important to recover and reinvent them, otherwise they will slowly vanish as time goes by and nature steps in. This investigation focus on one of these abandoned settlements, Silveira de Baixo. It looks in its roots for opportunities of reactivation, investigating the hypothesis of turning this village and the mountain accessible to the physically and mentally impaired, thus assuming a double objective, of allowing these disabled people to experience a place of extreme beauty and of reinventing and reactivating native productive activities thus conserving them and allowing for the village’s economical sustainability. This work designs a new beginning for a community and experiments the balance between the old and the new, without excessive patrimonialisation that often kills the return of life to such settlements. Experimenting the role of architecture in providing life to an abandoned place through a sustainable intervention.