The Interior City Infinity and Concavity in the No-Stop City (1970-1971)

In the late 60s it had become clear how the environment technification had allowed some typologies (supermarkets, car parks, factories) to reach potentially unlimited built depths becoming, therefore, independent from the outside. The No-Stop City is born from a very simple idea: to extend this technification to the totality of built reality encompassing, not only almost all functions, but ultimately, the whole city. This operation has paradoxical effects: as architecture grows, it loses most of the features that have traditionally defined it. A dissolution by hypertrophy that gives rise to an homogeneous, concave and potentially infinite space. But beyond the pure technical feasibility, there are two key influences, seemingly contradictory, that explain this endeavor for an interior and endless city: Marxism and Pop Art. The project is, in many senses, a built manifesto reflecting the militancy of the group members within the Italian Marxism. But it is also the embodiment of the groups declared interest in Pop Art, popular culture and mass society. The cross-influence of communism and consumerism explains this "quantitative utopia" in which the society and the factory, the production and consumption, would match. A city based on the centrality of consumer products and the subsequent loss of prominence of architecture, in which the urban phenomenon, while spreading endlessly over territory, ignoring its rural exteriority, dissolves the home as a sphere of privacy, ignoring its domestic interiority. A project, also in the wake of Marshall McLuhan, that illustrates like few others the conversion of the urbane into a virtually omnipresent "condition" and that still interrogates us with questions that are, on the other hand, eternal: What is a building? What is a city?

New York City: "gilt cage" or "promised land" ? : representations of urban space in Edith Wharton and Anzia Yezierska

This thesis explores the importance of literary New York City in the urban narratives of Edith Wharton and Anzia Yezierska. It specifically looks at the Empire City of the Progressive Period when the concept of the city was not only a new theme but also very much a typical American one which was as central to the American experience as had been the Western frontier. It could be argued, in fact, that the American city had become the new frontier where modern experiences like urbanization, industrialization, immigration, and also women's emancipation and suffrage, caused all kinds of sensations on the human scale from smoothly lived assimilation and acculturation to deeply felt alienation because of the constantly shifting urban landscape. The developing urban space made possible the emergence of new female literary protagonists like the working girl, the reformer, the prostitute, and the upper class lady dedicating her life to 'conspicuous consumption'. Industrialization opened up city space to female exploration: on the one hand, upper and middle class ladies ventured out of the home because of the many novel urban possibilities, and on the other, lower class and immigrant girls also left their domestic sphere to look for paid jobs outside the home. New York City at the time was not only considered the epicenter of the world at large, it was also a city of great extremes. Everything was constantly in flux: small brownstones made way for ever taller skyscrapers and huge waves of immigrants from Europe pushed native New Yorkers further uptown on the island, adding to the crowdedness and intensity of the urban experience. The city became a polarized urban space with Fifth Avenue representing one end of the spectrum and the Lower East Side the other. Questions of space and the urban home greatly mattered. It has been pointed out that the city setting functions as an ideal means for the display of human nature as well as social processes. Narrative representations of urban space, therefore, provide a similar canvas for a protagonist's journey and development. From widely diverging vantage points both Edith Wharton and Anzia Yezierska thus create a polarized city where domesticity is a primal concern. Looking at all of their New York narratives by close readings of exterior and interior city representations, this thesis shows how urban space greatly affects questions of identity, assimilation, and alienation in literary protagonists who cannot escape the influence of their respective urban settings. Edith Wharton's upper class "millionaire" heroines are framed and contained by the city interiors of "old" New York, making it impossible for them to truly participate in the urban landscape in order to develop outside of their 'Gilt Cages'. On the other side are Anzia Yezierska's struggling "immigrant" protagonists who, against all odds, never give up in their urban context of streets, rooftops, and stoops. Their New York City, while always challenging and perpetually changing, at least allows them perspectives of hope for a 'Promised Land' in the making. Central for both urban narrative approaches is the quest for a home as an architectural structure, a spiritual resting place, and a locus for identity forming. But just as the actual city embraces change, urban protagonists must embrace change also if they desire to find fulfillment and success. That this turns out to be much easier for Anzia Yezierska's driven immigrants rather than for Edith Wharton's well established native New Yorkers is a surprising conclusion to this urban theme.

Cartografias do Armário: estratégias do desejo em uma cidade do interior paulista

This article aims to present the results of a research about the links among homophobia, subjectivation processes and constructions of gender and sexual identities in a small city in the interior of São Paulo State. The main research question that guided us was: how homophobia regulates the desire and the “transit between the closets” among the so called gay people in a small city? To answer that question we made interviews that were analyzed and transformed into narratives of four cisgender men of different ages who call themselves homosexual or who have had homoerotic practices with other men. All participants live in the same city, do not know one another and have lived most of their lives city. We have problematized how these participants gave meaning to the experiences of regulation of their sexuality that have been aroused by homophobia and by the device of closet. Analyses indicated that the 'closet' can both regulate and oversee their lives, limiting their possibilities of desiring, but also may raise resistance, from which it is possible to establish a relationship with another ethical life, that is, producing other ways of life in the small city.

"Os bárbaros estão chegando": o processo de democratização do governo Richa no Paraná

O presente trabalho de pesquisa acadêmica abrange a análise da conjuntura política do processo de transição democrática no Brasil e no Paraná, ocorrida no final da década de 1970 e inícios dos anos 80. No capítulo introdutório examino os elementos teórico-metodológicos, que são as categorias de análise que utilizo no estudo da situação concreta brasileira, como contexto amplo, e da conjuntura das eleiçôes de 1982 e do governo de José Richa no Paraná. Era necessário examinar a concepçâo "ampliada" de Estado, o conceito de estrutura e de superestrutura do bloco histórico e a concepção da vertente da democracia liberal e da vertente da democracia popular, no enfoque da literatura do materialismo histórico-dialético, de autores clássicos e modernos. No segundo capítulo examino o projeto de transição democrática dos generais presidentes Geisel e Figueiredo: um plano dos militares e das elites brasileiras para salvar as elites no poder, na travessia pelo alto. O projeto não ia além da legitimação do regime e do modelo econômico pela passagem do governo militar aos civis, por um processo eleitoral duvidoso. No Paraná, objetivo principal da pesquisa, examino o projeto liberal do governo do PMDB de Richa, desde a organizaçâo partidária, a elaboraçâo das diretrizes de governo, a campanha eleitoral, a participaçâo de intelectuais de ponta na campanha, as alianças do PMDB com os setores populares da sociedade até a composição e a "direitização" do governo. "OS BÁRBAROS ESTÃO CHEGANDO", título principal da dissertação, era a denominação que a aristocracia (elite) curitibana atribuiu a José Richa, quando o mesmo ganhou as eleições ao governo do Paraná, pelo fato de ser do interior do Estado e não fazer parte do mundo civilizado da Curitiba cosmopolita. No terceiro capítulo examino a questão da democratização da escola pública do Estado pela instituição das eleições para diretor e vice-diretor da escola, pelos professores, servidores, alunos e pais de alunos. Digo que a democracia vai além do decreto governamental que estabelece as eleições. Digo ainda que o discurso na prática é outro, no caso do governo Richa e da educação. A questão básica da pesquisa é trabalhar a idéia de que a educação é um campo de disputas e confrontos de classes pela hegemonia do poder, em que a classe dominante luta para manter-se no poder como classe dirigente e as classes subalternas ora se mantém aliadas e como classes auxiliares à classe dominante, ora consentem e raras vezes rebelam-se contra a dominaçâo da classe dirigente.

Estresse entre professoras do ensino fundamental de escolas públicas estaduais

O artigo relata pesquisa que visou, entre outros objetivos, identificar a presença do estresse, a sintomatologia e as fases apresentadas pelos professores de 1ª a 4ª série do Ensino Fundamental atuantes em escolas públicas estaduais de uma cidade do Interior de São Paulo. Participaram do estudo 175 professores, perfazendo, aproximadamente, 70% dos profissionais de Ensino Básico I (PEB-I) em atuação no município. Para obtenção dos objetivos foram utilizados dois instrumentos de coleta de dados: o ISSL (Inventário de Sintomas de Estresse) e um questionário para caracterizar a população pesquisada. A pesquisa revelou que 56,6% dos professores estão experimentando estresse, cujos principais sintomas presentes são: sensação de desgaste físico constante, cansaço constante, tensão muscular, problemas com a memória, irritabilidade excessiva, cansaço excessivo, angústia/ansiedade diária, pensar constantemente em um só assunto e irritabilidade sem causa aparente.

As relações entre os conflitos interpessoais e o bullying: um estudo nos anos iniciais do Ensino Fundamental de duas escolas públicas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Estudo etnobotânico de plantas alimentares cultivadas por moradores da periferia de Santo Antonio de Leverger, MT

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Carga e trabalho de enfermagem em unidade de terapia intensiva especializada em queimados

Pós-graduação em Enfermagem (mestrado profissional) - FMB

La ciudad interior : infinitud y concavidad en la no-stop city (1970- 1971)

A finales de los 60 se había hecho evidente como la tecnificación del ambiente había permitido a algunas tipologías (supermercados, aparcamientos, fábricas) alcanzar profundidades construidas potencialmente ilimitadas e independizarse del afuera. La No-Stop City nace de una idea sencilla: extender esta tecnificación a la totalidad de lo construido para englobar, no sólo la práctica totalidad de funciones, sino, en última instancia, toda la ciudad. Esta operación tiene efectos paradójicos: a medida que la arquitectura crece, pierde la mayoría de características que la han definido tradicionalmente. Una disolución por hipertrofia que da lugar a un espacio homogéneo, cóncavo y potencialmente infinito. Pero, además de la pura factibilidad técnica, existen dos influencias clave y aparentemente contradictorias que explican esta apuesta por una ciudad interior e ilimitada: el marxismo y al Pop Art. El proyecto es, en muchos sentidos, un manifiesto construido que refleja la militancia de los miembros del grupo en el seno del marxismo italiano. Pero es también la plasmación del interés declarado del grupo por el Pop Art, la cultura popular y la sociedad de masas. La influencia cruzada de comunismo y consumismo explica esta “utopía cuantitativa” en la que se hacen coincidir la sociedad y la fábrica, la producción y el consumo. Una ciudad basada en la centralidad de los objetos de consumo y la subsiguiente pérdida de protagonismo de la arquitectura, en la que lo urbano, al tiempo que se extiende sin límites sobre el territorio, ignorando su exterioridad rural, disuelve el hogar como ámbito de privacidad, ignorando su interioridad doméstica. Un proyecto que, en la estela también de Marshall McLuhan, ilustra como pocos la conversión de lo urbano en una “condición” virtualmente omnipresente y que nos sigue interrogando con preguntas que son, por otra parte, eternas: ¿Qué es un edificio? ¿Qué es una ciudad?.

Before the Honorable Secretary of the Interior of the United States of America, in the matter of the order issued by the Honorable Secretary of the Interior, to the City and County of San Francisco, to show cause why certain portions of the Garfield Permit should not be revoked : written return of respondent to order to show cause /

Cover title.

The Garden of Earthly Delights Triptych, interior, right panel, Hell, upper portion: area with eggman and burning city

Hieronymus Bosch; grisaille, oil on wood

Directing the Secretary of the Interior to convey certain land held in trust for the Paiute Indian Tribe of Utah to the city of Richfield, Utah, and for other purposes : report (to accompany H.R. 680).

"November 7, 2005."

Proceedings of the Interior Space in Other Places : An IDEA [Interior Design/Interior Architecture Educators Association] Symposium [Edited Volume of Proceedings]

Conference curatorial outline The focus of this symposium was to question whether interior design is changing relative to local conditions, and the effect globalization has on the performance of regional, particularly Southern hemisphere identities. The intention being to understand how theory and practice is transposed to ‘distant lands’, and how ideas shift from one place to another. To this extent the symposium invited papers on the export, translation and adoption of theories and practices of interior design to differing climates, cultures, and landscapes. This process, sometimes referred to as a shift from ‘the centre to the margins’, seeks new perspectives on the adoption of European and US design ideas abroad, as well as their return to their place of origin. Papers were invited from a range of perspectives including the export of ideas/attitudes to interior spaces, history of interior spaces abroad, and the adoption of ideas/processes to new conditions. Paralleling this trafficking of ideas are broader observations about interior space that emerge through specificity of place. These include new and emerging directions and differences in our understanding of interiority; both real and virtual, and an ever-changing relationship to city, suburb and country. Keeping within the Symposium theme the intention was to examine other places, particularly on the margins of the discipline’s domain. Semantic slippage aside, there are a range of approaches that engage outside events and practices enabling a transdisciplinary practice that draws from other philosophical and theoretical frameworks. Moreover as the field expands and new territories are opened up, the virtual worlds of computer gaming, animations, and interactive environments, both rely on and produce new forms of expression. This raises questions about the extent such spaces adopt or translate existing theory and practice, that is the transposition from one area to another and their return to the discipline.

The French polisher and the unsentimental interior

In January 2011 a swollen Brisbane River broke its banks flooding riverside houses and buildings. The river’s water spread and rose up through storm water drains inundating some 20 000 houses in low-lying land. As the water receded those residents affected by the floods returned to their homes to assess the damage. While some people breathed a sigh of relief others were devastated by the overwhelming damage to their homes and personal belongings. Over the next few weeks the landscape of Brisbane was altered not merely by the mud and debris left by the torrent of water, but by the piles of domestic contents occupying Brisbane streets. Beds, toys, cabinets, plasterboard, tiles and household furniture lined curbsides waiting for collection. Later they would accumulate in public parks and sports centres to await disposal, momentarily creating an unsettling landscape of discarded domestic interiors. While most houses remained standing the heart breaking repercussions were evident in their interiority. Thousands of volunteers flocked to help those affected by the floods to purge the damage left by the water – removing wall and floor linings, discarding furniture and spoilt belongings. In her paper on Hurricane Katrina, Julieanna Preston wrote, ‘What anthropological evidence would we find as we followed their migration – heaps left by the side of the road, the physical weight overcoming the personal value…’ For many of the post flood restored homes and buildings entire interiors have been replaced, eradicating any trace of the significant event that disturbed them only months earlier. There were artifacts that would have survived the floods - furniture of solid timber – these were discarded and with them the patina that marked an important event in history. The patina is beyond technological reproducibility, and as Walter Benjamin writes, this being the whole premise of genuineness. It is the role of the French Polisher to maintain the true wear of the artefact for it is the patina that is most valuable in its ability to narrate the history of a piece. In 2012 two separate exhibitions in Brisbane will take place to display a selected collection of flood-damaged artefacts. This orchestrated way to commemorate the damage left by floods may be a method to compensate for the haste in which the damage was purged from the city. This need for exhibiting damaged artifacts illustrates Andreas Huyssen’s point that "…today memory is understood as a mode of re-presentation and as belonging to the present." This research looks at the dying trade of the French Polisher through conversations and a visual study of flood damaged furniture. The research also investigates the personal loss of artifacts through intimate stories shared by flood victims. This paper seeks to understand why so much was discarded and celebrate what remains.