domingo, 8 de fevereiro de 2015

Cultura e cozinha brasileira - Galinha à cabidela - Receita de Claude Troisgros, do livro Culinária nordestina encontro de mar e sertão.

Perfil da chef francês Claude Troisgros


O encontro dos paladares do sertão e do litoral marca a cozinha típica de oito estados nordestinos. Além do ensaio antropológico de Raul Lody e de um prefácio do chef francês Claude Troisgros, o livro traz 398 receitas de pratos originais e dos famosos doces nordestinos, ricamente ilustradas com fotografias a cores de Humberto Medeiros. Enfocando e associando alguns aspectos da história da região com seus pratos típicos, a obra faz parte da série A Formação da Culinária Brasileira.





Ingredientes


1 copo americano de sangue de galinha fresco

1 galinha inteira mais ou menos 2kg

1 cebola inteira (média)

3 dentes de alho

1 maço de cheiro verde

1 colher de sopa de colorau sem sal

Sal a gosto

2 xícaras (chá) de água

1 colher de sopa de maizena

1 colher de sopa de óleo

1/2 pimentão

1/2 tomate





Modo de Preparo


Cortar a galinha em pedaços

Retirar a pele da galinha, colocar na panela, dar uma fervida e escorrer a água

Temperar com todos os ingredientes exceto o sangue

Colocar na panela em fogo medio por 30 minutos

Depois de 30 minutos, peneirar o sangue e colocar 1 colher de sopa de maizena, misturar e colocar na panela

Mexer bem e deixar cozinhar por mais 5 minutos, depois servir

Bom apetite!


fonte: @edisonmariotti #edisonmariotti http://www.editorasenacsp.com.br/portal/produto.do?appAction=vwProdutoDetalhe&idProduto=19801

National Museum Complex – Phase I / Yanko Apostolov Architects

From the architect. Following Bulgaria’s recent accession to the European Union, Phase I of the National Museum Complex in Sofia, comes at a time when Bulgarian society is undergoing a reevaluation of cultural values and is in great need of a new self-assured and positive identity.

The museum complex in the capital’s historic center is funded by the European Fund for Regional Redevelopment and will showcase the country’s two most important art collections – those of the National Art Gallery and the National Gallery for Foreign Art.

© Assen Emilov

Location: Sofia, Bulgaria
Area: 18250.0 sqm
Year: 2014
Photographs: Assen Emilov, Courtesy of Yanko Apostolov Architects




Structural Engineer: Betaconst
Museum Design Consultants: Museoplan
Mep Engineers: Orhaniev and Partners Ltd, Mariya Popova Ltd, Bosilkova Ltd
Façade Consultant: Techne
© Assen Emilov





SITE HISTORY

Located on Alexander Nevsky Square, the museum complex occupies a site of extraordinary history. Over the past century the cathedral square and the surrounding buildings have seen a number of transformations that have had a profound effect on the way the site relates to the city.
Courtesy of Yanko Apostolov Architects

Alexander Nevski Square with the museum site in 1926.
Courtesy of Yanko Apostolov Architects

The Royal Printing House – built 1887.

In the late 19th century the three story building of the Royal Printing House framed the square to the east. Severely damaged at the end of WWII, the printing house was adapted first for the needs of the Technical University and later for the needs of the National Gallery for Foreign Art.
Courtesy of Yanko Apostolov Architects

WWII air raids over Sofia, 1944.
Courtesy of Yanko Apostolov Architects

The buildings of the former Technical University (center) and the National Gallery for Foreign Art (far right), 2010.

The addition of the new wings of the Technical University in the 50’s and the subsequent adaptation of the Royal Printing House as the National Gallery for Foreign Art in the 80’s enclosed the site as a complete urban block.

By the mid 90’s reorganization of state institutions after communism’s collapse and the ensuing ownership uncertainty left the Technical University building and its interior courtyard as a decaying empty shell.
Courtesy of Yanko Apostolov Architects

The courtyard before commencement of construction: previous site excavations and building in-fills had left the inner courtyard disconnected from the surrounding streets.
Courtesy of Yanko Apostolov Architects

View from the former turbine hall of the university laboratories: despite the buildings’ dilapidated state the potential for creating a special connection between the museum galleries and the inner courtyard was apparent from the start.

MUSEUM DESIGN

In 2010 the final transformation of the urban block began with an international architectural competition organized by the Bulgarian Ministry of Culture to turn the site into a national museum of visual arts that brings together under one roof several centuries of Bulgarian, European, Asian and African art.
Diagram

Long section through the museum’s sculpture court

The winning competition entry by Yanko Apostolov and Museoplan drew on the site’s unique history and the potential of the existing courtyard to become a symbolic heart of the museum and a meeting place for the citizens and visitors of Sofia.

The once-lost inner court is now elevated to connect to the surrounding streets creating a new cultural public space – an open air sculpture garden that can be used for art installations and special public events.

Museum complex circulation diagram

Clad in the much used in the city Vratza limestone, the new building tissue completes the massing of the complex while maintaining the volumetric hierarchy established by the nearby Alexander Nevsky Cathedral and the roofline of the National Gallery for Foreign Art. Centered on important lines of sight, the renovated courtyard acts as an orientation device and a point of departure for the museum visitors.
Diagram

A full spectrum of museum programs are organized around the open courtyard achieving optimum functional integration of art galleries, public spaces, administration offices, art storage and restoration labs. The new elevated ground plane acts as a horizon separating the public spaces and art galleries above from art storage and service spaces below.
Diagram

Largely a project of adaptive building reuse, the National Museum Complex greatly reduces embodied energy through optimum site utilization, recycling and use of local materials. Ventilated facades and use of new materials produce a high-performance building envelope. Exterior shading and dynamic lighting control provide optimum viewing environment in the galleries, while minimizing energy consumption. Air supplied through a raised floor system maintains stable microclimate throughout the museum, while mixed-mode ventilation in the administration offices further optimizes energy use and improves comfort. Green roofs and drought resistant landscaping reduce the heat island effect as well as minimize water usage.

© Assen Emilov
© Assen Emilov
© Assen Emilov
© Assen Emilov
© Assen Emilov

Galleries’ roof exterior shading panels
© Assen Emilov

Top lit galleries
© Assen Emilov

Sculpture galleries
© Assen Emilov

© 
Green roof
Assen Emilov


The museum’s café terrace overlooking the city
Diagram

CULTURAL RELEVANCE

The National Museum Complex contributes a valuable cultural venue to Sofia’s downtown. The project recovers a lost space in the public realm and charges it with new meaning – a place where art can start bringing new ideas into the daily lives of the citizens and visitors of Sofia.

Phase I and eventually Phase II (scheduled for construction in 2015) are two critical steps in a wider master plan to create a museum cluster that promotes synergy between the national collections and the historical city fabric.

© Assen Emilov© Assen Emilov© Assen Emilov
© Assen Emilov© Assen Emilov© Assen Emilov
© Assen Emilov© Assen EmilovCourtesy of Yanko Apostolov Architects
© Assen EmilovCourtesy of Yanko Apostolov ArchitectsCourtesy of Yanko Apostolov Architects
© Assen EmilovCourtesy of Yanko Apostolov ArchitectsCourtesy of Yanko Apostolov Architects
Courtesy of Yanko Apostolov Architects© Assen Emilov© Assen Emilov
DiagramDiagramDiagram
Diagram

* Location to be used only as a reference. It could indicate city/country but not exact address.Cite


fonte: @edisonmariotti #edisonmariotti http://www.archdaily.com/592331/national-museum-complex-phase-i-yanko-apostolov-architects/

Canada's memory institutions lag counterparts in digital archiving: study

Canada's libraries, museums, art galleries and other memory institutions are lagging behind the rest of the world when it comes to preserving their digital archives, according to a report released Wednesday.



Computers at BiblioTech, a first of its kind digital public library, Monday, Sept. 16, 2013, in San Antonio. (AP Photo/Eric Gay)




Canada was once a global leader in digital archiving but has let that reputation fall by the wayside in recent years, says an expert panel assembled by the Council of Canadian Academies.

Other countries, including the Netherlands and the United States, have allowed memory institutions to join forces to pool their vast resources. Those countries are also better at identifying and sorting valuable information that might have otherwise remained useless.


"What we used to do was maintain these records in folders and boxes in print archives. We don't have those mechanisms anymore," said Colleen Cook, a member of the expert panel and dean of libraries at McGill University.

"And if information is only digital and it's lost, or if it is in such a form that we can't get to the specific information that we need, then the memory of a time is potentially very vulnerable."

Creating digital equivalents of all the content in towers of boxes is a complicated undertaking, the 208-page report acknowledges. Government agencies, libraries and other institutions with extensive archives will have to navigate a thicket of rules concerning privacy, copyright infringement and other types of legislation.

Still, the report concludes that Canada's memory institutions have more similarities than differences in terms of their technical capabilities and overall goals. It concludes that Canada has the knowledge and technology infrastructure to regain a place among the world leaders in preserving information.

One of the report's key recommendations is that memory institutions start collaborating with others. This could involve libraries combining their archives into one master catalogue, galleries teaming up with external companies to digitize art collections, or museums enhancing their own collections by crowdsourcing extra information.

The report highlights several successful examples of collaboration. One involved the U.S. Library of Congress launching a project with the photo-sharing platform Flickr.

The partners created a site dubbed the Commons, which allowed the public to enhance existing photos in the library's collection by tagging people or adding other contextual information. In the six years of its existence, the Commons now features photo collections from more than 80 memory institutions that have now been able to benefit from public knowledge.

Cook said the success of such efforts highlight the need for Canada to follow suit.

"Those who are obvious leaders ... need to work as a group, own the problem and decide that we're going to do something about it -- not simply talk about all the reasons why we can't do something," she said.

Canada does have some success stories. The Canadian Astronomy Data Centre currently collects and stores archives for major observatories around the world, including the Hubble Space Telescope.

Another website, Canadiana.org, is home to a portal of information on all aspects of the country. The site currently allows users to browse 65 million pages of data from 40 memory institutions.