A simplified approach to determine aerodynamic damping of railway overheads

The railway overhead (or catenary) is the system of cables responsible for providing electric current to the train. This system has been reported as wind-sensitive (Scanlon et al., 2000), and particularly to the occurrence of galloping phenomena. Galloping phenomena of the railway overhead consists of undamped cable oscillations triggered by aerodynamic forces acting on the contact wire. As is well known, aerodynamic loads on the contact wire depends on the incident flow mean velocity and the angle of attack. The presence of embankments or hills modifies both vertical velocities profiles and angles of attack of the flow (Paiva et al., 2009). The presence of these cross-wind related oscillations can interfere with the safe operation of the railway service (Johnson, 1996). Therefore a correct modelling of the phenomena is required to avoid these unwanted oscillations.

Stabilization of hillside in the work terraces of Alcaidesa in San Roque(Cádiz)

In the locality of The Hills of Alcaidesa in San Roque (Cádiz) has been constructed three blocks of housing called "The Terraces Alcaidesa" in a hillside in part virgin and in part with a refilling terrain without compaction with a width of 50 m and with a difference of levels between the most extreme points of 10 m.

Cuantificación de las erosión en un talud de Taganana mediante fotogrametría terrestre (Tenerife)

This paper provides an assessment of the potential of terrestrial photogrammetry to calculate erosion associated with surface runoff on hillsides near roads during recent periods. To do this we choose a road embankment located in a valley with hills which have developed abundant grooves erosion. The accuracy of the surveying tool is evident in the evaluation of small hillsides, but is impractical for the study of large hillsides with significant slopes, in which are unknown initial parameters of the topography.

Center for Nature Interpretation, Lanzarote (2009)

A black plane. The place is an extraordinary landscape, black due to the ash of this volcanic island, the distant horizon and sea in the background to the west. A natural ring of hills surrounds a flat area that reaches to the sea, with a saltwater lake in the center, where the white salt mines were formed in the past century.

La espacialidad del encuentro. Análisis de las comunidades de los conjuntos habitacionales modernos en el caso chileno del Gran Valparaíso

La producción habitacional moderna chilena del siglo xx proporcionó modelos valiosos en los que abundaban espacios proclives al encuentro de la comunidad que, además, han logrado perdurar en el tiempo. Sin embargo, el estado de degradación en que se encuentran algunos de estos conjuntos ha puesto en entredicho sus cualidades efectivas para resolver el problema de la vivienda, tanto por su racionalidad excesiva como por su escasa capacidad para acoger los modos de vida propios de sus habitantes. A día de hoy, ante la masificación indiscriminada del mercado inmobiliario, cabe plantearse una mirada retrospectiva hacia algunos de estos conjuntos que mediaron entre la renovación y la realidad local preexistente, como ocurrió en algunos contextos geográficos complejos como el ‘Gran Valparaíso’. Las ciudades de Valparaíso y Viña del Mar destacan por su peculiar morfología urbana entre planicie y cerros, conformada tanto por construcciones espontáneas como planificadas, generalmente adaptadas a la geografía. La aparición de nuevos modelos en altura en los cerros tuvo consecuencias significativas para la escala del barrio y la ciudad, como la apropiación del patrimonio común de los ciudadanos —la vista hacia el paisaje de la bahía— y un cierto descontrol en las relaciones entre lo construido y su entorno inmediato. Dicha situación se tradujo en la deshumanización de los espacios colectivos y la pérdida del ‘sentido de lo comunitario’, dos situaciones propias del habitar local. Sin embargo, algunos conjuntos modernos dieron importancia a este tipo de espacios, que utilizaron como complemento a los reducidos recintos comunes de la unidad habitacional. Así, mediante la integración de circulaciones, espacios comunitarios y dotaciones, se estimuló la ‘comunidad’ y se favoreció la relación socio-espacial entre la vecindad y el barrio. El hecho de que en su implantación recogiesen cualidades locales —o no— requiere de un estudio más exhaustivo, especialmente en lo que toca a los modos de vida asociados. Esta tesis presenta la trayectoria y el proceso de desarrollo comunitario de siete conjuntos habitacionales modernos construidos en Valparaíso y Viña del Mar. Una evolución que estuvo impulsada por las cualidades formales y funcionales de los espacios comunes, profundamente arraigados al lugar. A través de un análisis retrospectivo de los ámbitos de encuentro y la trayectoria de la vida cotidiana, y construido desde la documentación junto con los recuerdos de los habitantes originarios, este trabajo revisa el estado actual de dichos conjuntos, sus singularidades y los cambios que han experimentado en el tiempo. ABSTRACT The twentieth century’s Chilean modern housing production has provided valuable models in which abounded spaces likely to community encounter, that also have managed to survive over time. However, some modern housing complexes exhibit an evident state of deterioration, that contradicts their characteristics for solving housing problems, both for its excessive rationality as their limited capacity to accommodate the ways of life of its inhabitants. However while the housing market has established a model based on standardization and individuality, an evaluation of the real characteristics of the main modern constructions is required, that mediate between the renewal and the existing local reality especially in cities emplaced in geographic complexes such as the ‘Gran Valparaíso’. The cities of Valparaiso and Viña del Mar are notable for its unique urban morphology between flat land and hills, formed both by spontaneous as planned constructions, generally adapted to the geography. The emergence of these new height models, particularly in the hills, had significant consequences at neighborhood and city. On the one hand has implied ownership of the common heritage of the people —the view of the landscape of the bay— and on the other hand have devalued the relationship between the built and the immediate environment. That situation even involved the dehumanization of collective spaces and loss of ‘sense of community’, both part of the local ways of live. However some modern collective housing gave importance to such spaces as a way to address the lack of common spaces in the dwelling unit. Through the integration of circulations, community spaces and endowments, ‘community’ was stimulated and socio-spatial relationship between vicinity and the neighborhood was favored. The fact that in its implementation to collect local qualities —or not— requires further study, especially in terms of associated lifestyles. This thesis presents the trajectory and community development process of seven modern housing complexes built in Valparaíso and Viña del Mar. As will be seen, without a doubt the formal and functional qualities of common spaces prompted the neighborhood’s evolution, deeply rooted in place.. Through a built from the documentation with the memories of the original inhabitants retrospective analysis of the areas of encounter and experience of everyday life, this research reviews the current status of these sets, their singularities and the changes that have experienced over time.

Modelado de fractura dúctil sobre aceros modificados superficialmente 545-A

Históricamente la fractura ha sido considerada siempre como un efecto indeseado entre los materiales, dado que su aparición supone un cese del material en servicio, puesto que un material fracturado carece de importancia desde el punto de vista comercial. Consecuentemente, la Mecánica de Fractura ha experimentado un desarrollo importante en las últimas décadas como no lo hizo en toda la historia de los materiales. El desarrollo de nuevos campos a nivel científico y técnico han estado de la mano con el desarrollo de nuevos materiales que satisfagan las necesidades particulares de cada sector o aplicación. Este requerimiento se ve acentuado cuando se incorpora el aspecto económico, dado que, así como se necesitan materiales con mayor resistencia a la fractura, corrosión etc, también se necesita que su precio en el mercado sea accesible y que permita una aplicación rentable. En los últimos 70 años, desde los requerimientos de nuevos materiales resistentes a la fractura con los buques Liberty hasta el boom petrolero, pasando por las aplicaciones aeroespaciales se han desarrollado diversas teorías que explican el comportamiento de los materiales, en cuando a la tenacidad a la fractura en distintas temperaturas, composiciones químicas, materiales compuestos etc. Uno de los sectores que más ha demandado un desarrollo, por su amplitud en cuanto a requerimientos y consumo global, así como su impacto en la economía mundial, es el sector de gas, petróleo y petroquímica. Muchos de los proyectos que se intentaron desarrollar hasta hace menos de 25 años eran inviables por su elevado coste de ejecución y su bajo retorno de inversión debido a la caída de los precios del petróleo. Con una demanda creciente a nivel mundial y unos precios que apuntan hacia la estabilización o alza moderada, nuevos sistemas de trasporte por tuberías han sido necesarios desarrollar, desde el punto de vista de ingeniería, con el menos coste posible y de un modo seguro. Muchas de estas aplicaciones se vieron incrementadas cuando nuevos requerimientos en cuanto a resistencia a la corrosión fueron necesarios: demanda de materiales que no se corroan, con prestaciones seguras a nivel mecánico y un bajo coste. Esta nueva etapa se conoce como Aleaciones Resistentes a la Corrosión (CRA´s por sus siglas en inglés) en las cuales uno de los factores de diseño seguro recaían indiscutiblemente en la mecánica de fractura. Por estas razones era necesario entender como influía en la resistencia a la fractura las aportaciones que podrían hacerse sobre una superficie metálica. Al realizar el presente estudio se comenzó analizando la influencia que tenían modificaciones en el rango iónico sobre aceros al carbono. Estudios previos sobre láminas de acero ferrítico usadas en reactores de fisión nuclear demostraron que aportes de iones, en este particular el Helio, influían en el comportamiento de la tenacidad a la fractura en función de la temperatura. De este modo, un primer análisis fue hecho sobre la influencia de iones de nitrógeno aportados sobre superficies de acero al carbono y como modificaban su tenacidad a la fractura. Este primer análisis sirvió para comprobar el impacto que tenían pequeñas dosis de iones de nitrógeno en la tenacidad a la fractura. Otro desarrollo con una mayor aplicación industrial fue hecho sobre superficies de acero al carbono con aporte por soldadura de los materiales más usados para evitar la corrosión. El análisis se centró fundamentalmente en la influencia que tenían distintos materiales aportados como el MONEL 400, DUPLEX 928, INCONEL 625 y STAINLESS-STEEL 316 en referencia a características de diseño como la tensión elástica y la tensión a la rotura. Este análisis permitió conocer el impacto de los materiales aportados en los ensayos de tracción en probetas de acero al carbono. Una explicación acerca del comportamiento fue soportada por el análisis macrofractográfico de los perfiles fracturados y las macro deformaciones en la superficie de las probetas. Un posterior desarrollo teórico permitió modelar matemáticamente la fractura de las probetas aportadas por soldadura en la región elástica por medio de la Ley de Hooke, así como la teoría de Plasticidad de Hill para la región de deformación plástica. ABSTRACT Fracture mechanics has been extensively studied in the last 70 years by the constant requirements of new materials with low costs. These requirements have allowed surface modified welded materials in which it is necessary to know the influence of design fundamentals with the material surface welded. Several specimens have been studied for ductile fracture in longitudinal tensile tests for carbon steel surface-modified by weld overlay MONEL 400, DUPLEX 928, INCONEL 625 and STAINLESS-STEEL 316. Similarly of macro photographic analyzes to level the fractured surfaces that explain the behavior curves obtained in Tensile – displacement charts. The contribution of weld overlay material shows a significant impact on the yield and tensile stress of the specimens which was modeled according to Hooke's law for elastic area and Hill´s theory of plasticity to the plastic one.

Las casualidades controladas : la primera visibilidad del cambio del paradigma moderno

Como no pocos proyectos, el origen de esta tesis es fruto de una casualidad. Hace unos años me topé en Londres, en la librería Walden Books del 38 de Harmood St., con una primera edición de la conocida monografía de Mies a cargo de Philip Johnson. El librito, en realidad catálogo de la exposición que en 1947 el MoMA de Nueva York dedicara a la obra de Mies Van der Rohe a los diez años del desembarco del arquitecto en Estados Unidos, tiene un tamaño de 10 x 7,5 pulgadas, es decir, la mitad del formato americano Crown (20x15 pulgadas), equivalente a 508 x 381 mm. Se imprimieron, en su primera tirada, editada por The Plantin Press, 12.000 ejemplares. Ese mismo año, con edición al cuidado de Reynal y Hitchcock, se publicaría la primera traducción al inglés de Cuando las catedrales eran blancas de Le Corbusier y una selección de poemas de Lorca, siete años después de su Poeta en Nueva York. En la monografía, en la página 109, aparece el conocido croquis de Mies Sketch for a glass house on a hillside. c. 1934, escasamente unas líneas, aunque precisas y llenas de matices, de la casa en una ladera que rápidamente nos remite a aquella primera propuesta de Saarinen para una casa en el aire, primero en 1941 en Pensilvania y después, en 1945, con Charles Eames, en Los Angeles, que nunca llegarían a construirse, sino en su aliteraciones posteriores realizadas por Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, Nueva York, 1956) o Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank & Polly Pierson House, Malibú, 1962; Chamorro House, Hollywood Hills, 1963, o la serie Weekend House, con Gerald Horn, entre 1964 y 1970, hasta el magnífico Art Center College of Design de Pasadera, su puente habitado de 1977). El relato que da origen al texto discurre en un estricto período de tiempo, desde los primeros dibujos de la Case Study House nº8, dentro del programa promovido por John Entenza y su revista Arts & Architecture en California, realizados en el estudio de Saarinen en Bloomfield Hills, Michigan, hasta que el proyecto de la casa Eames finaliza cinco años después de acabar la obra en 1955, en la versión conocida, radicalmente distinta al proyecto original, cuando la pareja Charles y Ray Eames edita el corto House After Five Years of Living. La discusión original en torno a esta casita, o mejor, a las circunstancias, casualidades controladas, que rodean su construcción, se produce estrictamente cuando rastreamos aquellos invariantes que se mantienen en las dos versiones y las reconcilian. En este corto período de tiempo se producen en el proyecto una serie de decisiones que permiten descubrir, tanto en la forma como en el mismo proceso transformador del proyecto, en su obsesivo registro, en los nuevos referentes asumidos y propuestos, la primera visibilidad del cambio del paradigma moderno. Pero este momento germinal que cristaliza el paso a la postmodernidad no es inédito en la historia de la arquitectura americana. Así, el relato abre su ámbito temporal hasta un nuevo período de cincuenta años que arranca en 1893, año de la celebración en Chicago de la Exposición Internacional Colombina. En la White City de Hunt & McKim y del traidor Burham, Louis Sullivan construye su Golden Doorway en el pabellón de los Transportes. Aquella que visitará Adolf Loos antes de volver, renovado, a Viena; la misma que admirará André Bouillet, representante de la Union Centrale des Arts Decoratifs de Paris, y que deslumbrará en los museos de toda Europa, de París a Moscú en grandes fotografías y maquetas. Hasta que en Finlandia alguien muestra una de esas fotografías a un joven estudiante de diecinueve años en el Instituto Politécnico. Eliel Saarinen queda fascinado por la poderosa novedad de la imagen. Cuelga la fotografía frente a su tablero de dibujo, consciente de que la Golden Doorway, esa puerta de la aventura y la catarsis que Sullivan acuñaría como distintivo y que resolvería como único elemento complejo sus proyectos más maduros, desprovistos de todo ornamento; la misma que repetirían más tarde, con profundo reconocimiento, Ladovsky, Wright, Scarpa o Moneo, puerta dentro de puerta, fuelle y umbral, contenía, en sus propias palabras emocionadas, todo el futuro de la arquitectura. Desde ahí, pasando por el año 1910, momento de la huida de Wright a La Toscana y el descubrimiento de su arquitectura en Europa, entre otros por un joven Mies van der Rohe, meritorio en el estudio de Peter Behrens, a través del Wasmuth Portfolio; y así como algo después, en 1914, Schindler y en 1923 Neutra, harán el camino inverso, hasta que Mies les siga en 1937, animado por un Philip Johnson que había viajado a Europa en 1930, volviendo a 1945 y el inicio del programa Case Study House en California, hasta 1949, momento de la construcción de la CSH#8, y, por fin, al año 1955, after 5 years of living, en el que Julius Shulman fotografía la casa de Ray y Charles Eames en el prado de Chautauqua sobre las Pacific Palisades de Los Angeles, lanzando sus finas líneas amarillas hasta Alison y Peter Smithson y su tardomoderno heroico, hasta el primer Foster y su poético hightech y hasta el O-riginal Ghery, deconstruyendo el espacio esencial de su casa desde el espacio mismo, abiertas ya las puertas al nuevo siglo. Y en estos cambios de paradigma, desde el rígido eclecticismo de los estilos al lirismo moderno en el gozne secular y de ahí a la frivolidad, ligereza, exhibicionismo y oportunismo cultos del hecho postmoderno, hay algo que se mantiene invariante en los bandazos de la relación del hombre contemporáneo con su entorno. Como la escultura, que según Barnett Newman no es sino aquello contra lo que uno choca cuando retrocede para mirar un cuadro, en estos prístinos lugares, comunes y corrientes, recorrido, puerta, umbral, recinto y vacío, te topas con la arquitectura antes de darte cuenta de que es arquitectura. ABSTRACT As with many other projects, the origin of this doctoral thesis is the result of a chance. A few years ago I found in a bookstore in London, 38 Harmood st., Walden Books, a first edition of the well-known monograph about Mies by Philip Johnson. The tiny book, in fact a catalog of the exhibition that the MoMA of New York devoted to the work of Mies van der Rohe in 1947, ten years after his landing in the United States, has a size of 10 x 7.5 inches, that is, half of Crown American format (20 x 15 inches), equivalent to 508 x 381 mm. In the first printing, published by The Plantin Press, 12,000 copies were released. That same year, produced by Reynal and Hitchcock, both the first English translation of When the cathedrals were white by Le Corbusier and a selection of poems by Lorca were published, seven years after his Poet in New York. Inside the book, the famous drawing from Mies Sketch for a glass house on a hillside c. 1934 appears on page 109, barely a few lines, precise and nuanced though, the house on a hillside that quickly reminds us of the proposals of Eero Saarinen for a house in the air, first in 1941, in Pennsylvania, and later, in 1945, with Charles Eames, in Los Angeles, that would never be built, but in their later alliterations made by Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, New York, 1956) or Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank Pierson & Polly House, Malibu, 1962, Chamorro House, Hollywood Hills, 1963, or the Weekend House series, with Gerald Horn, between 1964 and 1970, to the magnificent Art Center College of Design Pasadena, the inhabited bridge, in 1977). The story that gives rise to the text flows in a short amount of time, from the first drawings of the Case Study House No. 8, within the program promoted by John Entenza and his magazine Arts & Architecture in California, made in the study of Saarinen in Bloomfield Hills, Michigan, until the project of the Eames house is completed five years after finishing the construction in 1955, in the final version we know, radically different from the initial state, when the couple, Charles and Ray, published the film House after Five Years of Living. The original discussion around this house, or better, about the circumstances, controlled coincidences, regarding its construction, appears when one takes account of those that remain, the invariants, in the two versions, drawn and built, which precisely allow the reconciliation between both projects. In this short period of time a series of decisions made in the transformation process of the project reveal, in the obsessive record made by Charles Eames and in the new proposed references, the first visibility of the changing of the modern paradigm. But this germinal moment that crystallizes the transition to postmodernism is not unprecedented in the history of American architecture. So, the story opens its temporal scope to a fifty-year period that started in 1893, date of the celebration of the Chicago World´s Columbian Exposition. In the White City by Hunt & McKim and Burnham, the traitor, Louis Sullivan builds his Golden Doorway in the Transportation Building. That visited by a renovated Adolf Loos before his coming back to Vienna; the same that André Bouillet, Head of the Union Centrale des Arts Decoratifs in Paris, admired and dazzled in museums all over Europe, from Paris to Moscow, in large photographs and models. Until someone in Finland showed one of those photos to a young nineteen-years-old student at the Polytechnic Institute. Eliel Saarinen became fascinated by the powerful new image: he hanged the picture in front of his drawing board, aware that the Golden Doorway, that door of adventure and catharsis Sullivan coined as distinctive and as a single complex element which would solve their most mature projects, devoid of all ornament; the same that would repeat later, with deep appreciation, Ladovsky, Wright, Scarpa, or Moneo, a door inside a door, a threshold, a gap that contained, in its own moving words, the whole future of architecture. From there, through 1910, when Wright's flight to Tuscany allows Europe to discover his architecture, including a young Mies van der Rohe, meritorious in the studio of Peter Behrens, via the Wasmuth Portfolio; and as a little bit later, in 1914, Schindler and Neutra in 1923, made the travel in opposite direction, until Mies follows them in 1937, led by a Philip Johnson who had traveled to Europe in 1930, we return to 1945 and the beginning of the program Case Study House in California, and from 1949, when construction of the CSH # 8 begins, and finally, to 1955, after five years of living, when Julius Shulman photographs the inside of the house with Ray and Charles Eames, and all their belongins, at the Chautauqua meadows on Pacific Palisades in Los Angeles, launching its fine yellow lines to Alison and Peter Smithson and his heroic late modern, up to the first Foster and his poetic hightech and even the O-riginal Gehry, deconstructing the essential space of his home from the space itself, opening the doors to the new century. And these paradigm shifts, from the hard eclectic styles to modern secular lyricism in the hinge and then overcoming the cultured frivolity, lightness, exhibitionism, and opportunism of the postmodern skeptical focus, something remains intense, invariant in the lurching relationship of contemporary man and his environment. As the sculpture, which according to Barnett Newman is what you bump into when you back up to see a painting, in these pristine, ordinary places, promenade, door, threshold, enclosure and emptiness, you stumble upon the architecture even before realizing that it is architecture.

O BOCA A BOCA ON-LINE: AS IMPLICAÇÕES DA VOZ DO CONSUMIDOR NA COMUNICAÇÃO DE MERCADO

O consumidor contemporâneo, inserido em um novo ambiente de comunicação, potencializa suas expressões, capaz de avaliar uma marca ou produto e transmitir sua opinião pelas redes sociais, ou seja, o consumidor expressa suas opiniões e desejos dialogando com seus pares de forma espontânea nas redes sociais on-line. É neste ambiente de participação e interação (ciberespaço) que está nosso objeto de estudo, o boca a boca on-line – a voz do consumidor contemporâneo, também conhecido como uma manifestação informativa pessoal ou uma conversa, a opinion sharing. Proporcionado pelos consumidores nas redes sociais on-line, o boca a boca se fortalece em função das possibilidades de interação, característica da sociedade em rede. Nesse cenário, oobjetivo desta pesquisa é caracterizar o boca a boca on-line como um novo fluxo comunicacional entre consumidores, hoje potencializado pelas novas tecnologias da comunicação, capazes de alterar a percepção da marca e demonstrar o uso, pelas marcas, das redes sociais on-line ainda como um ambiente de comunicação unidirecional. Mediante três casos selecionados por conveniência (dois casos nacionais e um internacional), o corpus de análise de nossa pesquisa se limitou aos 5.084 comentários disponibilizados após publicação de matérias jornalísticas no Portal G1 e nas fanpages (Facebook), ambos relativos aos casos selecionados. Com a Análise de Conteúdo dos posts, identificamos e categorizamos a fala do consumidor contemporâneo, sendo assim possível comprovar que as organizações/marcas se valem da cultura do massivo, não dialogando com seus consumidores, pois utilizam as redes sociais on-line ainda de forma unidirecional, além de não darem a devida atenção ao atual fluxo onde se evidencia a opinião compartilhada dos consumidores da sociedade em rede.

Chloroplast DNA variation and the recent radiation of the giant senecios (Asteraceae) on the tall mountains of eastern Africa.

Chloroplast DNA restriction-site variation was surveyed among 40 accessions representing all 11 species of giant senecios (Dendrosenecio, Asteraceae) at all but one known location, plus three outgroup species. Remarkably little variation (only 9 variable sites out of roughly 1000 sites examined) was found among the 40 giant senecio accessions, yet as a group they differ significantly (at 18 sites) from Cineraria deltoidea, the closest known relative. This pattern indicates that the giant senecios underwent a recent dramatic radiation in eastern Africa and evolved from a relatively isolated lineage within the Senecioneae. Biogeographic interpretation of the molecular phylogeny suggests that the giant senecios originated high on Mt. Kilimanjaro, with subsequent dispersion to the Aberdares, Mt. Kenya, and the Cherangani Hills, followed by dispersion westward to the Ruwenzori Mountains, and then south to the Virunga Mountains, Mt. Kahuzi, and Mt. Muhi, but with dispersion back to Mt. Elgon. Geographic radiation was an important antecedent to the diversification in eastern Africa, which primarily involved repeated altitudinal radiation, both up and down the mountains, leading to morphological parallelism in both directions. In general, the plants on a given mountain are more closely related to each other than they are to plants on other mountains, and plants on nearby mountains are more closely related to each other than they are to plants on more distant mountains. The individual steps of the geographic radiation have occurred at various altitudes, some clearly the result of intermountain dispersal. The molecular evidence suggests that two species are extant ancestors to other species on the same or nearby mountains.

De rios e colinas: a cidade de São Paulo entre os séculos XVI a XVIII. Um estudo sobre a tradição urbanística de origem lusitana e suas transformações à época do iluminismo

Esta tese tem como objetivo analisar os processos históricos envolvidos na criação e difusão de uma cultura urbanística lusitana, a qual se formou alinhavando e reinterpretando inúmeras referências e que as transformou continuamente ao longo dos séculos e de sua expansão territorial. Tomamos o século XVI como referência da expansão lusitana e o caso de São Paulo de Piratininga tida pela bibliografia especializada como uma excepcionalidade na história urbanística e colonial portuguesa como exemplo de alinhamento com a tradição urbanística portuguesa. Essa inserção é visível através do cotejamento da história urbana de outras cidades portuguesas (como Coimbra, Sintra, Tomar, mas, sobretudo, Lisboa). De outro lado, contempla-se o século XVIII como um momento de profundas mudanças nessa tradição urbanística e a inserção de novas mentalidades, práticas, motivadas principalmente pelo surgimento de novos movimentos (como o iluminismo) e protagonistas ou, ainda, suas novas faces (como o Estado português, em processo de centralização, de aproximação com os interesses mercantis e de medidas modernizadoras). Procura-se, por fim, demonstrar a complexidade dos processos culturais que envolvem, ao longo dos séculos, a criação e transformação das cidades, bem como a intensa circulação de ideias, pessoas, práticas entre a Europa e as Américas.

Ijé: the journey

Chioma, a child growing up in the Nigerian countryside, warned her restless sister, Anya, about the trappings of the American Dream. In "Ijé: The Journey" movie, ten years later, Anya is accused of killing 3 men in a Hollywood Hills mansion - one of them her record-producer husband. Chioma travels from Nigeria to Los Angeles, and with the help of a young attorney, discovers that the dark secret her sister wants to keep hidden might be the only thing that can win her freedom.

Annotated almanac, 1755

Almanac containing calendar pages with sporadic annotations of measurements and small one-word notes. Winthrop often corrected the almanac's printed chart for the rising and setting of the sun. There are a few handwritten entries including a note in Latin about Winthrop's mother. An unattached sheet of paper folded into the almanac has burial and baptism statistics for Boston and Charleston, and entries about General Braddock's defeat by the French (July 9), a battle between General Johnson and the French and Indians under the Baron de Dieskau (September 8), the execution of two slaves for murdering their master (September 18), and a note that President Holyoke preached the Dudleian lecture (November 25).

Philadelphia, Pennsylvania, 1797 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: This plan of the city of Philadelphia and it's environs (shewing the improved parts) is dedicated to the mayor, aldermen and citizens thereof, by their most obedient servant John Hills surveyor and draughtsman ; May 30th 1796 ; engraved by John Cooke of Hendon Middlesex near London. It was Published and Sold by John Hills Surveyor and Draughsman in 1797. Scale [1:7,200]. The image inside the map neatline is georeferenced to the surface of the earth and fit to Pennsylvania South State Plane Coordinate System NAD83 (in Feet) (Fipszone 3702). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as roads, drainage, built-up areas, selected public and private buildings, schools, churches, industry locations (e.g. mills, factories, mines, etc.), docks, fortification, ground cover, and more. Relief shown by hachures. Includes also references to points of interest. This layer is part of a selection of digitally scanned and georeferenced historic maps of New England from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of regions, originators, ground condition dates, scales, and map purposes.

New York, N.Y. and vicinity, 1899 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: New York City and vicinity, H.M. Wilson, geographer in charge ; triangulation by U.S. Coast and Geodetic Survey ; topography by S.H. Bodfish ... [et al. and] U.S. Coast and Geodetic Survey, N.Y. City Government and the Geological Survey of New Jersey. It was published by U.S.G.S. in 1899. Scale 1:62,500. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Universal Transverse Mercator (UTM) Zone 18N NAD83 projection. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as roads, railroads, drainage, cities and towns, villages, forts, cemeteries, aqueducts, boundaries, and more. Relief is shown with standard contour intervals of 20 feet. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

New York, N.Y. and vicinity, 1961 : Oyster Bay, N.Y.-Conn. (8 Sheet Set) (Raster Image)

This layer is a georeferenced raster image of the United States Geological Survey 7.5 minute topographic sheet map entitled: New York and vicinity : Oyster Bay, N.Y.-Conn., 1955. It is part of an 8 sheet map set covering the metropolitan New York City area. It was published in 1961. Scale 1:24,000. The source map was prepared by the Geological Survey from 1:24,000-scale maps of Bayville 1954, Mamaroneck 1955, Sea Cliff 1954, and Hicksville 1954 7.5 minute quadrangles compiled by the Army Map Service. The Mamaroneck quadrangle was previously compiled by the Geological Survey in 1933 and 1934. Culture revised by the Geological Survey. Hydrography compiled from USC&GS charts 222 (1955), 223 (1954, 1955), and 224 (1954). The image inside the map neatline is georeferenced to the surface of the earth and fit to the Universal Transverse Mercator (UTM) Zone 18N NAD27 projection. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. USGS maps are typical topographic maps portraying both natural and manmade features. They show and name works of nature, such as mountains, valleys, lakes, rivers, vegetation, etc. They also identify the principal works of humans, such as roads, railroads, boundaries, transmission lines, major buildings, etc. Relief is shown with standard contour intervals of 10 and 20 feet; depths are shown with contours and soundings. Please pay close attention to map collar information on projections, spheroid, sources, dates, and keys to grid numbering and other numbers which appear inside the neatline. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.