Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T02:17:31Z (GMT). No. of bitstreams: 1 Fuchigami_RafaelHirochi_M.pdf: 4928207 bytes, checksum: a0ed12a80c12607b98a9de37140877a4 (MD5) Previous issue date: 2014 / Resumo: Este trabalho organiza informações sobre a introdução e difusão das tradições da flauta shakuhachi no Brasil, desde os primórdios do século XX até os dias atuais, levando em consideração os aspectos históricos e etnomusicológicos desse processo. Partimos dos estudos realizados por Olsen (1982, 1983, 2004) e Satomi (2004), tocando em assuntos relacionados com a difusão da música e cultura pelos imigrantes japoneses e seus descendentes. Entretanto, o objetivo central desta pesquisa é tratar da presença do shakuhachi em nosso país, independentemente da região ou grupo étnico no qual está inserido. Se, por um lado, restringimos o foco para um único instrumento da cultura japonesa, por outro, aprofundamos sua abordagem e ampliamos a pesquisa para todo o país, para além do estado de São Paulo. Discorremos sobre a trajetória da flauta a partir de um levantamento bibliográfico e acrescentamos novas informações que se revelaram durante o trabalho de campo. Abordamos a utilização atual do shakuhachi, visto que nos últimos anos estão ocorrendo mudanças significativas em seu panorama no país, como a introdução das obras e estilo difundidos por Katsuya Yokoyama (1934-2010), o aumento significativo de tocadores não-descendentes de japoneses, entre os quais alguns se tornaram líderes de grupos de música japonesa, e a utilização da internet como ferramenta de difusão das tradições do shakuhachi. Essas transformações evidenciaram o fato de que a cultura japonesa está se deslocando independentemente da população japonesa, um fenômeno recente no contexto do shakuhachi no Brasil / Abstract: The present work attempts to organize information gathered about the introduction and dissemination of the shakuhachi flute tradition in Brasil, from the earliest days of the twentieth-century to the present time, taking into consideration the historical and ethnomusicological aspects of this process. We began with the studies done by Olsen (1982, 1983, 2004) and Satomi (2004) touching on subjects related to the diffusion of music and culture of the immigrants and its descendants as it would be expected. However the focal point of this research is to call attention to the presence of the Shakuhachi flute in our country independently of the geographic region or ethnic group in which it is inserted. If on one hand one narrows the focus of the research to consider just one single instrument of the Japanese culture, on the other one furthers its approach thereby extending the study process to go beyond the borders of the State of São Paulo so to cover the entire country. We have examined the path of the flute¿s evolution begining with a bibliographical survey and adding new information that appeared in the course of our fieldwork. We approached current use of the Shakuhachi taking into consideration the fact that in recent years significant changes have occurred in this country as to the instrument¿s scenario such as the introducing of works and styles diffused by Katsuya Yokoyama (1934-2010), the significant increasing in numbers of non- Japanese descendent players, among which few have become group leaders of Japanese music, and the use of the internet as a tool to promote and divulge Shakuhachi tradition. These transformations make it evident the fact that Japanese culture is gradually being shifted independently from Japanese settlements, a new phenomenon in the environment context of the Shakuhachi in Brazil / Mestrado / Fundamentos Teoricos / Mestre em Música

[pt] O uso do bambu como reforço em matrizes poliméricas é uma ideia consolidada. No entanto, o bambu é suscetivel a ataques microbianos, onde consiste uma das principais limitações para seu uso. Este trabalho teve como principal objetivo a impregnação interna do bambu Dendrocalamus giganteus Wall.ex Munro com nanopartículas de prata (NPs-Ag), com potencial antifúngico, sintetizadas com dois estabilizantes diferentes (citrato trissódico e quitosana). As seções impregnadas foram analisadas verificando-se que os agregados de NPs-Ag-citrato se concentraram no parênquima, preferencialmente na parte externa do bambu, ocupando 0,26 por cento do volume total da amostra, com um volume médio de 9,19 × 10 elevado a 3 micrómetros cúbicos. Enquanto que os agregados de NPs-Ag-quitosana se concentraram tanto parênquima quanto nos vasos do metaxilema, apresentando maior homogeneidade de distribuição na parte interna do bambu, ocupando 1,18 por cento do volume total da amostra e volume médio de 1,71 × 10 elevado a 3 micrômetros cúbicos. / [en] The use of bamboo as reinforcement in polymer matrices is an established idea. However, bamboo is susceptible to microbial spoilage, which is a major limitation for their use. This work had as main objective the internal impregnation of bamboo Dendrocalamus giganteus Munro Wall.ex with silver nanoparticles (NPs-Ag) with antifungal potential, synthesized with two different stabilizers (trisodium citrate and chitosan). The impregnated sections were analyzed verifying that Ag NPs citrate aggregates concentrated in the parenchyma, preferably on the outside of the bamboo, occupying 0.26 percent of the total sample volume with an average volume of 9.19 × 10 to 3 cubic micrometer. While NPs-Ag-chitosan aggregates focused both parenchymal and in metaxylem vessels, with more homogeneous distribution inside the bamboo, occupying 1.18 percent of the total sample volume and average volume of 1.71 × 10 to 3 cubic micrometer.

This dissertation investigates how a productive landscape can increase the carrying capacity of the land, by analysing and responding to the existing site and a proposed post-industrial development of the site done in 2010. The aim is to effectively communicate the influence of man’s highly consumerist nature on resources and the ecology on the user group. The chosen site is located in the highdensity urban context of Pretoria West, Tshwane, South Africa. The motivation of this dissertation is for the landscape to be the synergy between the existing productive entities. The strategy was to design holistically, with the objective being to include the larger systems at play. Systemic thinking, in terms of production, increases resources and the variety of resources’ deliverability. The only way that a productive landscape can be resilient is to instil positive meaning in the user and, consequently, indefinite stewardship. To achieve resilience, biophilic urban design guidelines were followed to have a positive psychological effect on the user. This dissertation aims to re-address age-old theories, such as biophillia and the “Web of Life”, as crucial guidelines to inform interventions for the current, real time, global and African issues relating to increasing resource demands. / Dissertation (ML(Prof))--University of Pretoria, 2015. / Architecture / ML(Prof) / Unrestricted

O foco desta pesquisa é o estudo da cadeia produtiva do bambu como material construtivo, investigando atores, atividades e processos. A arquitetura do futuro necessita de novos modelos e materiais construtivos para possibilitar o desenvolvimento sustentável do planeta. A atual demanda habitacional, no Brasil e no mundo, exige do setor da construção civil maior consumo de matériasprimas e, por conseguinte, implicando na elevação da emissão de CO2 e do consumo de energia. Novos materiais que demandam uma quantidade menor de energia em sua produção e uma menor geração de resíduos estão começando a ocupar posição de destaque na cadeia produtiva da construção civil. Neste contexto, o bambu no formato roliço, entre os materiais construtivos do futuro, por suas qualidades físico-mecânicas, além das ambientais, econômicas e sociais, poderia contribuir de maneira positiva. Arquitetos e construtores, no Brasil e em outras partes do mundo, tem de forma significativa ampliado os usos do bambu, aplicando-o em residências, pavilhões, e até em grandes estruturas. Porém, ainda existe um desconhecimento bastante generalizado sobre seu uso na construção civil. Esta lacuna é ainda maior quando se procura entender a sua cadeia produtiva. A compreensão dos atores, processos e da utilização dos materiais não convencionais, como o bambu, para a concepção projetual, é fundamental para o desenvolvimento do estudante e do profissional, seja ele engenheiro ou arquiteto. O trabalho de campo, juntamente ao referencial teórico estudado, permitiu a compreensão de que a cadeia produtiva do bambu como material construtivo além de não seguir o padrão estabelecido na literatura, principalmente com relação aos atores e processos envolvidos diretamente na transformação da matéria-prima, se apresenta de forma desorganizada e frágil, com a concentração de processos em poucos atores, resultando pouca eficiência e dificultando o seu desenvolvimento. / The focus of this research is the study of the bamboo productive chain as constructive material, investigating agents, activities and its processes. The architecture of the future needs new models and constructive materials to enable the sustainable development of the planet. The actual housing demand in Brazil and in the world, require from the civil construction sector a larger consumption of raw material and therefore producing a larger emission of CO2 and energy consumption. New materials that demand a smaller amount of energy and its production and a smaller residual generator are beginning to occupy a prominent position in the productive chain of the civil construction. In this context, the bamboo in natura shape is included in the construction materials of the future, because its physical-mechanical component, also environmental, economic and social component that could contribute in a positive manner. Architects and constructors, in Brazil and in other parts of the world, have considerably increased the use of bamboo; using it in residences, warehouses and even in large structures, although there is a widespread ignorance about its use in the civil construction. This gap is even larger when one seeks to understand its productive chain. The comprehension of its agents, processes and the use of non-conventional materials, such as bamboo, for a project conception is fundamental for the student and the professional development, whether an engineer or architect. The fieldwork, along with the theoretical referential studied, allowed the comprehension of the bamboo productive chain as a constructive material, besides to not follow the established standard in the literature, mainly with the relationship between agents and its processes involved directly in the transformation of the raw material, it presents in a unorganized and frail form, with a concentration of processes within few agents, resulting in little efficiency and hindering its development.

The United States has an abundant stock of naturalized wild growing bamboo species that are generally considered invasive. This project explores the use of locally harvested, so called “invasive” bamboo as a potential building material incorporated into a modular, kit-of-parts style construction system. These structures are uniquely suited to address the need for expanded spaces and extensions that bridge between the strictly indoor vs. outdoor distinction of existing buildings, as revealed by the Covid-19 pandemic. The rhizomatic mechanism of spread that is characteristic of bamboo species is used as the framework to propose a tectonic system that is decentralized, adaptable, and deployable. Drawing on a series of formal explorations, this system is further developed through a case study proof of concept design for Morningside Elementary School in Atlanta, GA, by supplementing, expanding, and adapting the existing facilities for eating, gathering, recreation, and learning to address the requirements of a Covid-19 safe school environment and to propose an ongoing outdoor learning program.

No description available.

While some societies face problems of crime and gang violence and are looking into different solutions, very little research exists on what community and architectural design and building can contribute to the reconstruction of the social fabric. This text explores how various elements and factors of architecture can be applied to reduce crime and gang violence activity in a city. By studying several manifestos and classic writings, this study will inquire the moral factor within architecture, the use of local materials and vernacular techniques, the definition of an architectural program that heals and the use of the members of the community hands for the construction of a building, the feel belonging and the ownership of a piece of architecture. La Libertad, El Salvador has been used as the place to put this into practice, being in the top most violent cities in the nation. The initiative of the architect to use the cities resources, such as bamboo as material to boost the economy through the architecture is explored to measure the impact in numbers by reducing rates of crime and gang activity in the city. / Master of Architecture / El Puerto de La Libertad in El Salvador is one of the best destinations in Central America for surfing with its great swells of waves and beautiful beaches. But there is a consistent tone within the visitors and residents’ comments about the city: they don’t feel as safe as they want to. The issue of insecurity and gang violence steadily increased after the Civil War in El Salvador ended in 1992. So, there have been different nation and city plans to mitigate the problem since then, but none has really aimed to inclusivity, most of them have been focused on fighting it with violence. My thesis seeks answers within architecture to help alleviate gang violence in the city of Puerto, through the design and development of a city master plan that connects different facilities centered in the farming, harvesting and use of bamboo for construction, furniture making and crafting. This will allow a boost in the town’s economy and the reconstruction of the social fabric. Finally joining the beauty of the blue of the ocean and the sky, with local materials and the hands of the members of the community for the design — and potentially building— of the Surfing Youth Center.

No description available.

Esta dissertação trata de trabalho manual artístico, em particular da confecção artesanal de um grupo de trabalho nos aspectos estéticos, compositivos, e construtivos. O objetivo principal foi incorporar as melhorias formais em peças artesanais, pela leitura de meios gráficos, com base nas teorias da linguagem visual, percepção, forma, sistemas construtivos e contribuições históricas oriundas do movimento modernista na arquitetura. O trabalho está dividido em seis capítulos. Após a introdução, foi apresentado o marco teórico, o grupo de trabalho, a análise das peças e a conclusão. A metodologia foi essencialmente de natureza qualitativa e exploratória, com uso de recursos da pesquisa-ação. Foram realizadas oficinas com os artesãos, dirigidas pelo pesquisador instrutor. As peças confeccionadas em bambu espelharam a interpretação formal dos participantes. No texto, a análise comparativa das peças considerou o compartilhamento entre saberes acadêmicos do arquiteto e vivências do grupo de trabalho nomeado Cia do Bambu. As considerações finais apontaram para uma apreensão de noções de conceitos da arquitetura relativos à proporção, à linguagem plástica, à estrutura da peça, à ampliação do imaginário e à incorporação de novidades. Os modelos rígidos, “tal qual a arte egípcia”, foram abandonados e substituídos por protótipos criados, discutidos e projetados especialmente em casos para atender demandas externas de trabalho. Foram reforçados os ideais do belo cultuados pela arte grega. Os atos de concepção e os mecanismos de funcionamento estrutural das peças artesanais passaram a sugerir características do movimento da arquitetura moderna. Consequentemente, o grupo de trabalho Cia do Bambu se apoderou das potencialidades de suas imaginações, de seus saberes e conhecimentos adquiridos para criar novas peças. / This dissertation deals with artistic handiwork, particularly of a craft working group, on aesthetic, compositional, and constructive aspects. The main objective was to incorporate formal improvements in handcrafted pieces by reading graphic means, based on visual language theories, perception, form, construction systems and historical contributions coming from the architectural modernist movement. The work is divided into six chapters. After the introduction, come the theoretical framework, the working group, the pieces analysis and the conclusion. The methodology was essentially qualitative and exploratory, with resources of action research. Workshops were held with the artisans, led by the researcher instructor. It was fabricated bamboo pieces that mirrored the formal architectural interpretation of the participants. In the text, the pieces comparative analysis considered the sharing between the architect academic knowledge and the working group Cia do Bambu experiences. The final considerations pointed out to an apprehension of architectural concepts notions related to proportion, visual language, piece structure, imaginary expansion, and novelties incorporations. The rigid models, "just like Egyptian art," were abandoned and replaced by created, discussed and projected prototypes, especially in situations to answer external work demands. It was reinforced the beauty ideals cultivated by the Greek art. The conception acts and the structural functioning mechanisms of the handcrafted pieces suggested characteristics of modern architecture movement. In consequence, the working group Cia do Bambu seized their imagination potentialities, their knowledge and expertise acquired to create new pieces.

Esta dissertação trata de trabalho manual artístico, em particular da confecção artesanal de um grupo de trabalho nos aspectos estéticos, compositivos, e construtivos. O objetivo principal foi incorporar as melhorias formais em peças artesanais, pela leitura de meios gráficos, com base nas teorias da linguagem visual, percepção, forma, sistemas construtivos e contribuições históricas oriundas do movimento modernista na arquitetura. O trabalho está dividido em seis capítulos. Após a introdução, foi apresentado o marco teórico, o grupo de trabalho, a análise das peças e a conclusão. A metodologia foi essencialmente de natureza qualitativa e exploratória, com uso de recursos da pesquisa-ação. Foram realizadas oficinas com os artesãos, dirigidas pelo pesquisador instrutor. As peças confeccionadas em bambu espelharam a interpretação formal dos participantes. No texto, a análise comparativa das peças considerou o compartilhamento entre saberes acadêmicos do arquiteto e vivências do grupo de trabalho nomeado Cia do Bambu. As considerações finais apontaram para uma apreensão de noções de conceitos da arquitetura relativos à proporção, à linguagem plástica, à estrutura da peça, à ampliação do imaginário e à incorporação de novidades. Os modelos rígidos, “tal qual a arte egípcia”, foram abandonados e substituídos por protótipos criados, discutidos e projetados especialmente em casos para atender demandas externas de trabalho. Foram reforçados os ideais do belo cultuados pela arte grega. Os atos de concepção e os mecanismos de funcionamento estrutural das peças artesanais passaram a sugerir características do movimento da arquitetura moderna. Consequentemente, o grupo de trabalho Cia do Bambu se apoderou das potencialidades de suas imaginações, de seus saberes e conhecimentos adquiridos para criar novas peças. / This dissertation deals with artistic handiwork, particularly of a craft working group, on aesthetic, compositional, and constructive aspects. The main objective was to incorporate formal improvements in handcrafted pieces by reading graphic means, based on visual language theories, perception, form, construction systems and historical contributions coming from the architectural modernist movement. The work is divided into six chapters. After the introduction, come the theoretical framework, the working group, the pieces analysis and the conclusion. The methodology was essentially qualitative and exploratory, with resources of action research. Workshops were held with the artisans, led by the researcher instructor. It was fabricated bamboo pieces that mirrored the formal architectural interpretation of the participants. In the text, the pieces comparative analysis considered the sharing between the architect academic knowledge and the working group Cia do Bambu experiences. The final considerations pointed out to an apprehension of architectural concepts notions related to proportion, visual language, piece structure, imaginary expansion, and novelties incorporations. The rigid models, "just like Egyptian art," were abandoned and replaced by created, discussed and projected prototypes, especially in situations to answer external work demands. It was reinforced the beauty ideals cultivated by the Greek art. The conception acts and the structural functioning mechanisms of the handcrafted pieces suggested characteristics of modern architecture movement. In consequence, the working group Cia do Bambu seized their imagination potentialities, their knowledge and expertise acquired to create new pieces.