This paper analyzes physical and visual accessibility at Moinhos de Vento Park in Porto Alegre, Rio Grande do Sul, Brazil, through Space Syntax methods. The Park presents a particularity in its configuration： it is c...This paper analyzes physical and visual accessibility at Moinhos de Vento Park in Porto Alegre, Rio Grande do Sul, Brazil, through Space Syntax methods. The Park presents a particularity in its configuration： it is crossed by an important avenue in the city that splits it in two portions linked by an elevated pedestrian path. The two portions of the park have different accessibility degrees and intensity of use due to -- we believed -- the way they are inserted in the urban pattern. Both the barrier caused by the avenue crossing the park and the differences of connectedness of each portion to its surrounding grid result in the level of integration occurring in different ways, turning the east portion less intensely used. The all-line and visibility integration maps showed that this was the case, and confirmed that spatial configuration plays an important role in rendering the east portion less integrated and in explaining the more intense use of the west portion. Integration maps showed that the most integrated areas are indeed the most used ones, although line and visibility integration differed slightly as to the exact location. This difference was probably due to the way barriers were modeled, since permeability took into account the paths while visibility considered all the ground as a whole, provided there were no barriers to sight. Another explanation for the difference is the lake located at the center of the west portion which contributed to this location＇s visual integration but, on the other hand, displaced line integration to the larger convex space to the north.展开更多
The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at ...The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.展开更多
文摘This paper analyzes physical and visual accessibility at Moinhos de Vento Park in Porto Alegre, Rio Grande do Sul, Brazil, through Space Syntax methods. The Park presents a particularity in its configuration： it is crossed by an important avenue in the city that splits it in two portions linked by an elevated pedestrian path. The two portions of the park have different accessibility degrees and intensity of use due to -- we believed -- the way they are inserted in the urban pattern. Both the barrier caused by the avenue crossing the park and the differences of connectedness of each portion to its surrounding grid result in the level of integration occurring in different ways, turning the east portion less intensely used. The all-line and visibility integration maps showed that this was the case, and confirmed that spatial configuration plays an important role in rendering the east portion less integrated and in explaining the more intense use of the west portion. Integration maps showed that the most integrated areas are indeed the most used ones, although line and visibility integration differed slightly as to the exact location. This difference was probably due to the way barriers were modeled, since permeability took into account the paths while visibility considered all the ground as a whole, provided there were no barriers to sight. Another explanation for the difference is the lake located at the center of the west portion which contributed to this location＇s visual integration but, on the other hand, displaced line integration to the larger convex space to the north.
文摘The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.
