Uma janela tropical: análise do desempenho luminoso de ambientes com aberturas sombreadas para o clima de Natal/RN

This master thesis introduces assessment procedures of daylighting performance in office rooms with shaded opening, recommendations for Natal-RN (Latitude 05,47' S, Longitude 35,11' W). The studies assume the need of window exterior shading in hot and humid climate buildings. The daylighting performance analyses are based on simulated results for three levels of illuminance (300,500 e 1000 lux) between 08h00 e 16h00, in rooms with 2,80 m height, 6 m large and 4 m, 6 m e 8 m depths, with a centered single opening, window wall ratio (20%, 40% e 60%), four orientations (North, East, South and West), and two types of sky (clear and partially cloudy). The sky characteristics were statistically determined based on hourly data from INPE-CRN solar and daylighting weather station. The lighting performance is resulted from dynamic computer simulation of 72 models using Troplux 3.12. The simulation results were assessed using a new parameter to quantify the use of interior daylighting, the useful percentage of daylight (PULN), which corresponds to the time fraction with satisfactory light, in accordance with the illuminance design. The passive zone depths are defined based on the PULN. Despite the failures of illuminance data from the weather station, the analyses ratified the high potential of daylighting for shaded rooms. The most influential variables on the lighting performance are the opening size and the illuminance of design, while the orientation is a little influential

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...