{"id":791,"date":"2023-06-20T15:31:24","date_gmt":"2023-06-20T18:31:24","guid":{"rendered":"https:\/\/www.ufrgs.br\/propar\/?page_id=791"},"modified":"2023-06-22T15:36:23","modified_gmt":"2023-06-22T18:36:23","slug":"arqtexto-10-11","status":"publish","type":"page","link":"https:\/\/www.ufrgs.br\/propar\/en\/arqtexto\/arqtexto-10-11\/","title":{"rendered":"ARQTEXTO 10-11"},"content":{"rendered":"<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/publicacoes_arqforo_10_11.jpg\" alt=\"\" width=\"80\" height=\"105\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>1\u00ba \/ 2\u00ba semestre 2007<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/1_SUMARIO_E_EDITORIAL.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/1_SUMARIO_E_EDITORIAL.pdf\">SUM\u00c1RIO E EDITORIAL<br><em>SUMMARY &amp; LETTER FROM THE EDITOR<\/em><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/2_BUCHANAN.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/2_BUCHANAN.pdf\">FORMAS FLUTUANTES, ESPA\u00c7OS FLUIDOS: A PO\u00c9TICA DE OSCAR NIEMEYER<br><em>FLOATING FORM, FLUID SPACE: THE POETICS OF OSCAR NIEMEYER<\/em><\/a><br>Peter Buchanan<br>Tradu\u00e7\u00e3o: Guilherme Rene Maia<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/3_COMAS.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/3_COMAS.pdf\">O CASSINO DE NIEMEYER E OS DELITOS DA ARQUITETURA BRASILEIRA<br><em>NIEMEYER\u2019S CASSINO AND THE MISDEEDS OF BRAZILIAN ARCHITECTURE<\/em><\/a><br>Carlos Eduardo Comas<br>Tradu\u00e7\u00e3o: Guilherme Rene Maia<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/4_PIZZATO.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/4_PIZZATO.pdf\">CURVAS NA OBRA DE OSCAR NIEMEYER (1936-1965)<br><em>CURVES IN THE WORK OF OSCAR NIEMEYER (1936-1965)<\/em><\/a><br>Eduardo Pizzato<br>Tradu\u00e7\u00e3o: Guilherme Rene Maia<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/6_CAROLA.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/6_CAROLA.pdf\">EL MUSEO DE ARTE MODERNA DE NIEMEYER: SU LUGAR EN EL PAISAJE MODERNO DE CARACAS<br><em>NIEMEYER\u2019S ART MUSEUM: ITS PLACE IN THE MODERN CITYSCAPE OF CARACAS<\/em><\/a><br>Carola Barrios Nogueira<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/7_MARA.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/7_MARA.pdf\">NIEMEYER EM BERLIM<br><em>NIEMEYER IN BERLIN<\/em><\/a><br>Mara Oliveira Eskinazi e Carlos Eduardo Comas<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/8_FIORE.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/8_FIORE.pdf\">OSCAR NIEMEYER E A UNIVERSIDADE DE HAIFA<br><em>OSCAR NIEMEYER AND THE UNIVERSITY OF HAIFA<\/em><\/a><br>Renato Holmer Fiore<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/9_PANERAI.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.ufrgs.br\/propar\/wp-content\/uploads\/2023\/06\/9_PANERAI.pdf\">\u00c0 GLORIA DO PARTIDO<br><em>\u00c0 LA GLOIRE DU PARTI<\/em><\/a><br>Philippe Panerai <br>Tradu\u00e7\u00e3o: Rog\u00e9rio de Castro Oliveira<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PROJETO: CASA TREMAINE E CASA DA ESTRADA DAS CANOAS<\/strong><br><em>PROJECT : TREMAINE HOUSE AND HOUSE AT CANOAS ROAD<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>1\u00ba \/ 2\u00ba semestre 2007 SUM\u00c1RIO E EDITORIALSUMMARY &amp; LETTER FROM THE EDITOR FORMAS FLUTUANTES, ESPA\u00c7OS FLUIDOS: A PO\u00c9TICA DE OSCAR NIEMEYERFLOATING FORM, FLUID SPACE: THE POETICS OF OSCAR NIEMEYERPeter [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":702,"menu_order":11,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-791","page","type-page","status-publish","hentry"],"acf":[],"uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false,"trp-custom-language-flag":false},"uagb_author_info":{"display_name":"PROPAR","author_link":"https:\/\/www.ufrgs.br\/propar\/en\/author\/gerente\/"},"uagb_comment_info":0,"uagb_excerpt":"1\u00ba \/ 2\u00ba semestre 2007 SUM\u00c1RIO E EDITORIALSUMMARY &amp; 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