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A cor no processo criativo pdf

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24 jan. A Cor No Processo Criativo Pdf Download. caite.info,caite.info caite.info Scribd is the world's largest social reading and publishing site. A COR no processo criativo (Lilian Ried Miller Barros). 7 likes. Book.

Alguns looks compostos com a cor. A feira apresentou em as novidades de 96 mil Foram, no ano de visitantes Erlo Sant Cabel reir Figure 9. EMAC, second phase: Abstract of the Productivity Accumulation.

The project production department was kept intact, counting on the same technical staff that was already there in It is important to highlight, that thinking about a controling position which would give him greater range of freedom , Edison Musa would try to devise an execution project as detailed as possible, and giving the clientele the reassurance that everything had been considered beforehand.

With such preoccupation with detail, and the resulting mastery in the project production, he would earn a differentiated place in the work market. It has to be cited that this place was assured, not only by private clients and companies who crossed paths with the architect at that time, but also heavily by the real state sector, through the construction companies: This, the end of the office phase and the prognostic of another, still being generated, of a company which aimed to produce in industrial rhythm.

Edison Musa had set up a small team of internal and external collaborators, which grew to the strength of the clients who had diversified.

From this growth, EMAC would earn wider and more challenging horizons, because there was the need of improving the working method, which the only reference had been the French experience of Candilis-Josic-Woods.

Now, the entrepreneur vision won body and substance and reasoning was needed for profiting, holding tight to its position in the market which had laboriously been conquered. It becomes evident, in the organogram Figure 5 a phased project repartition. The office was structured according to the demand.

Jaci Hargreaves, who had entered in , and Stella Teixeira de Mattos, hired since , soon each one would receive their own team to lead. In the beginning of the s, from what we could appraise, and according to Ferreira apud Salgado, , p.

The coordinating task included, therefore, the compatibility between architecture with its complementary projects, besides with the industry, what left architects and engineers face to face around a shared goal: The technical team then formed a unique team which successively faced the tasks one after the other.

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With the increase of the clientele, several simultaneous orders forced EMAC to an posture that allowed the work to be done in a parallel fashion. The sequence of the proceedings concerning the creation process and the project production at EMAC, at that time, consisted of:.

It is also noted that, in the structure, the architecture contests were linked with the executive project team. They were performed, as soon as the calling, by a team, signed in red, referred asad-hoc, that is, especially assembled for that purpose, when this was the case, with some architects from the internal office team.

These ones took over the contest, whose deadline was systematically short, and had their tasks, previously predicted by their work plan, redirected to other colleagues.

The office grew continuously and there was the need of regulating the tasks in order to make them impersonal, which is, as the employees changed, routine remained unaltered.

The number of employees in the technical area architects and drawers, added by engineers after grew vigorously in the period, jumping from 11 to 62 professionals. Evidently, this was corresponded by a physical space increase of the office, which, in started to occupy five rooms on the fifth floor of the Pancreto building Figure 6 , increased in to the total occupation of the same Figure 7 , to which were added three other rooms on the tenth floor.

Figure 6. Figure 7. The EMAC second phase beginning would represent reorganization in its general structure, regarding its repartition, both for functions as well as established clients.

Edmundo Musa appears as Administrative Technical Director, position earned because his permanence in the office, which allowed him to have full control over all the activities and projects developed there. In this condition, two ramifications, the first one which takes them to the initial studies, first project risks that the brothers start to develop, if not in partnership, from the preliminary discussions they had between themselves, backed by the drawers who assure them the preliminary drawings at a 1: One of them fronted the legal projects, although also supervised some of the executive ones, the ones originated from Edmundo Musa.

A curious point of the same organogram is the ad-hoc team featured by the purple color, responsible for the boards for approval: The collective working scheme was already showing of vital signs operation in We realized the division by teams had existed from the beginning, starting from the experience of Edison Musa in the Candilis-Josic-Woods office.

It also has to be mentioned that the latter, having to cope with the situations as they came by, had done research on the theme, mainly in the AIA — American Institute of Architects, which, at the time had already an extended list of works on architecture office administration, subject almost totally ignored in Brazil. After all, duties would be distributed, responsibilities taken and results would be presented in regular meetings, always written and signed by the attendants.

This would generate greater commitment which would mobilize each one of the professionals to perform more and better. Key concepts of the American industrial vision would be applied in the office, identified by new organizational attitudes; control was needed to be exerted, evaluation be effected, gratifications offered and permeating everything, the time appropriation. These would be the four pillars EMAC would support its management system in the following years.

Beyond the teams, that in Figure 9 , at DETEC, would add up to twelve — here we have to emphasize the existence of two very distinctive nuclei in that department: The aforementioned DETEC was formed by architects and drawers, in different levels of function and salary.

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They were: Figure Control through Appropriation of time and Financial Productivity. Issued Document: Abstract of the Productivity Accumulation. This group, from the beginning of the s, would become, at EMAC, the starting point of the architectonic project production, which gained life of its own, yet supervised. Generated Document: Diagnostic Sheet of the Land. With this attitude, the office made its businesses more dynamic, increased its revenue and survived the worsening of a crisis which had been anticipated in the real state sector.

The policy was directed, in the beginning, for the foreign companies, because those ones were used to have the management of the architecture offices in their country of origin. In England, for example, this was law: Owing to this, one of these projects, the CAEMI headquarters, which we will use as example to show how the process was fully performed, from the clipboard to the working site.

Thus, inside the office own structure, DEFIS would be born, after called DEGER, that in , according to what the respective chronogram shows, was fully active, with two interdisciplinary teams: Because they were able to establish such department inside the office itself, and subordinated to themselves, the Musa brothers guaranteed fidelity to the developed projects, at the same time they could conquer a new working market for the architect, who in there did not replace the engineer, but instead, they worked together as partners in the working site, with the first one coordinating the latter.

Undoubtedly, when it comes to the architecture offices at the time, this fact would put EMAC in a totally differentiated position, which distinguished it among the clientele they wanted to work with. They were several the procedures that, at that time, put into operation the project production inside EMAC, originating documents that on their turn would operate its management. The result of those meetings was always a specific minute, document which acquired its significance according to the subject being discussed Figure Generated document: Organogram, with distribution of functions.

Through organizational permanent postures, the supervising was systematically discussed about the affairs of several teams, both of which, on their turn knew from weekly meetings kept with each team leader.

By using it, the directories would be able to know what had been happening, predicted what would happen and already created parameters for future estimate on the amount of time they took to develop certain services. With total control over the so-called production, they consider important to stimulate productivity, having instituted, consequently, an award from a system of regular evaluations Figure Control Through Evaluation.

Technical Team Evaluation. Specific sheets with notes and comments. Starting with the choices of the possible zones for receiving the proposal in gestation, followed by the search for an adequate place for this goal, the making of the legal project, the respective execution project development as well as its detailing, the building company hiring, the working site activity management, the daily executive functions and its physical-financial control follow-up.

To complement all this activity, the office was also in charge of the interior project and all the necessary measures for its fulfilling up to the time of moving. Edison Musa, the architect was the director of the project, and his supervisor, was the professional responsible, within the office. Mobilizing and coordinating the technical teams, in number of two. Totaling 10 professionals, these two teams and their respective project managers could manage their execution to be finished in exact 24 months, from the day of the choice of the land to the opening date for its inauguration.

Observe below Figure 15 the macro flux of the project, which, here, we only develop until the executive project. The architect Edison Musa, the architect gave EMAC, since its beginnings, a professional posture code and characteristic concepts of an architecture in times of transition, concepts the whole team would be supported along the years.

Cor pdf a no processo criativo

Edmundo Musa contributed with his strict temper and administrative competence to the improvement of the existing method, boosting it as normalizer of the professional behaviors to make possible the maturing of the team and the formation of first rate professionals in the city. Thus, we can say that actually there, since the s, specifically, the implementation of a very particular management system for the project production outlined by the way the brothers thought architecture, the professional practice, the team work, the creative process.

The truth is that it is needed to see through the adjectives in which the Edison Musa office was submerged and now look for the noun word, for the architectonic objects in themselves. It is now time to prepare the land for the future critical and investigative view: Diez, F.

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