Ngā taipitopito rārangi puna kōrero
| Kaituhi matua: |
Pimentel, Lucia Gouvêa |
| Rā whakaputa: |
2024 |
| Ētahi atu kaituhi: |
Teixeira, Maria Cristina Villefort,
Oliveira, Gabriela Clemente |
| Hōputu: |
Article
|
| Reo: |
por |
| Puna: |
Repositório Comum do Brasil - Deposita |
| Download full: |
https://deposita.ibict.br/handle/deposita/598
|
Whakarāpopototanga: |
The soil is the provocative material for writing this text. It is an old companion. A creative process in art has been cultivated with it for some time. Finding it in studies and debates in the area of Vernacular Architecture, a territory that has a particular relationship with the subject, raised thoughts that were outlined in the following pages. What drew attention within this field of knowledge was the production process of adobe brick, an ancestral material used by human beings in their housing and building needs. The procedures involved in its manufacture have characteristics that make it possible to establish interrelationships with theories that address the dimension of the body and experience, which are frequently referenced in the field of arts. Throughout the elaboration of the reflection, the line presented itself as a means to express words and images. The visualities produced helped to minimize the physical absence of the brick. The analysis that follows was supported by theories and research on the construction processes of housing with soil and approaches by Jorge Larossa Bondia and Christine Delory-Momberger. The main objective of the text was to highlight the use of land within the practice of adobe production and propose an approximation of this construction system with theories from other fields of knowledge. |
