Bibliographic record
Abstract
Resumo: Na década de 1950, as construções de arranha-céus e melhoramentos urbanos expressam fisicamente o projeto da sociedade paulistana de consolidar sua auto-imagem como uma grande metrópole de destaque no cenário nacional. Nesse período, os paulistanos se orgulhavam de morar na "cidade que mais cresce no mundo", lema progressista repetido com altivez, sem medir suas conseqüências. Os slogans como "São Paulo não pode parar" mostram como o crescimento se torna, nesse momento, um atributo preponderante e determinante, não mais um objetivo, mas sim um destino da cidade. O ponto máximo desse clima de otimismo perante o crescimento de São Paulo se deu com os festejos dos 400 anos de fundação da cidade. Uma comissão foi composta para organizar os preparativos da grande festa do Quarto Centenário. Como a cidade ainda não tinha infra-estrutura suficiente para receber tantos visitantes, foram feitos vários incentivos à construção de hotéis e equipamentos urbanos por parte da iniciativa privada. Foi dentro desse clima que o BNI construiu os edifícios Montreal e o Complexo Turístico Copan, ambos de autoria do então já afamado arquiteto Oscar Niemeyer. A produção de prédios para venda das empresas e construtoras da época, e do BNI em particular, se filiam às novas propostas da Arquitetura Moderna Brasileira pelo veio nacionalista e como símbolo de modernização desenvolvimentista da nova metrópole paulistana em expansão. Afinal, esse é um período em que a arquitetura moderna é assimilada pelo grande público como símbolo do progresso nacional e como expressão artística e cultural legitimamente brasileira, ainda que de forma esvaziada das propostas originais. Esse estudo de caso do Edifício Montreal busca apresentar esse momento da história tanto da arquitetura moderna brasileira quanto do crescimento das cidades do país e seus vínculos com a iniciativa privada na formação de um discurso nacionalista e desenvolvimentista típico do período. Abstract: In the decade of 1950, the urban constructions of skyscrapers and improvements physically express the project of São Paulo's society to consolidate its auto-image as a great metropolis of prominence in the national scene. In this period, the paulistanos were proud to live in the "city that more grows in the world", progressive motto repeated with proud, without measuring its consequences. Slogans as "São Paulo cannot stop" shows how the growth has become, at this moment, a preponderant and determinative attribute, not an objective, but a destination of the city. The culminate point of this optimism was the city's fourth centenary commemorations. A commission was composed to organize a great party. As the city still did not have infrastructure enough to receive so many visitors, some urban incentives to the construction of hotels and equipment on the part of the private initiative had been made. It was by then that BNI constructed the Montreal building and the Tourist Complex Copan, both by Oscar Niemeyer, already a famous architect. The companies and constructor's building production at the time, BNI in particular, was linked to the new proposals of the Brazilian Modern Architecture as a nationalistic symbol of modernization. After all, at this period, the modern architecture is assimilated by the great public as symbol of the national progress and as legitimately Brazilian artistic and cultural expression, although still away from its original proposals. This study case of the Montreal Building aims to present this moment of the history of the Brazilian modern architecture, the growth of the Brazilians cities and its bonds with the private initiative in the formation of a typical nationalistic speech of the period.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.003 | 0.000 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.002 | 0.001 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.017 | 0.024 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".