Evelyn Furquim Werneck Lima
EVELYN FURQUIM WERNECK LIMA holds a BA in Architecture and Urban Planning, a MA in History of Art, and a PhD in Social History (UFRJ) with a Doctoral Research Period at the École des hautes études en Sciences Sociales (EHESS). She is a Full Professor at the Universidade Federal do Estado do Rio de Janeiro - The Federal University of the State of Rio de Janeiro / Post Graduate Programme in Performing Arts Studies, is a researcher for the National Council of Technological and Scientific Development (CNPq- 1-A) and for the FAPERJ Foundation (Scientist of Our State) and is a member of the Municipal Heritage Council of Rio de Janeiro. She has published a variety of articles on Cultural Heritage, History of Architecture, Theatre Architecture, and Cultural History and has presented papers at international conferences in England, the Czech Republic, France, Italy, Portugal, Spain and Chile and numerous papers at national conferences. She was head of the General Department of Cultural Heritage in Rio de Janeiro (1990-1992), is the leader of the Research Group ‘Theatrical Spaces Studies’ and the leader of the Research Group ‘Space, Memory and Urban Planning’. She is the Head of the Laboratory for Theatrical Spaces and Urban Memory Studies (in the Post-Graduate Programme of Performing Arts) since 1994. Lima is also the author of Contemporary Theatre Buildings and their Impacts on Cities (2022); Theatre Architecture from the Renaissance to the 21rst Century (2017), Architectures and Set Designs. Lina Bo Bardi and the Theatre (2012, with Monteiro); Architecture and Theatre: From Palladio to Portzamparc (2010 with Cardoso), From the Avant- Gardes to Tradition (2006), Architecture for Performing Arts (2000/ Brazilian Institute of Architects Award), President Vargas Avenue: a drastic surgery (1990/Architect Olga Verjovski Award). She edited Architecture, Artistic Practices and Cultural Heritage (2022), Architecture, Theatre and Culture: Revisiting Spaces, Cities and Playwrights of the Seventeenth Century (2012), Space and Theatre (2008), Space and City (2007), among others. Lima is the Head of the Laboratory of Theatrical Spaces and Urban Memory Studies at the Universidade Federal do Estado do Rio de Janeiro (UNIRIO), she was a Visiting Research Fellow at the Collège de France (2011), Università Degli Studi di Padova (2016), and at the Crakow University of Technology (2021). She supervised eighteen Ph.D thesis and nineteen Ms.C. dissertations. Lima also directed the documentary Contemporary Theatre Architecture in the State of Rio de Janeiro (2017), and the documentary Industrial Heritage and Artistic Practices (2022). She was the President of the Organising Commission for eleven National Symposia and four International Conferences. She is the Coordinator for the Arts at the FAPERJ Foundation since 2018.
Address: Rua Ipanema 197/104
Rio de Janeiro
CEP 22631-390
Address: Rua Ipanema 197/104
Rio de Janeiro
CEP 22631-390
less
Interests
Uploads
Videos by Evelyn Furquim Werneck Lima
Direção Geral: Evelyn Furquim Werneck Lima
BOOKS AUTHORED by Evelyn Furquim Werneck Lima
Cotejando desenhos, escritos e espaços teatrais procurou-se investigar que teorias de restauro teriam embasado seus projetos desenvolvendo a tese que Lina utilizou o Restauro Crítico em suas obras de conservação de imóveis pré-existentes. Além da arquitetura teatral, o livro aborda a cenografia de cinco peças e dois filmes. Iniciando suas atividades de cenógrafa no período que passou na Bahia, antes da Revolução de 1964, Lina cenografou duas obras de Berthold Brecht, A Opera dos Três Tostões e Na Selva da Cidade, uma de Albert Camus, Calígula, uma junto ao grupo Oficina, Graças Señor e uma de Alfred Jarry, inspirada em Ubu- Rei, esta última já em 1985, sem tanta conotação política. Paralelamente, foram analisados dois filmes com cenografia da arquiteta: A Compadecida e Prata Palomares. Confrontando os conceitos de arte e técnica com base nos pressupostos teóricos de Giulio Carlo Argan (1993), bem como conceitos de Christian Norbert Schulz sobre o genius loci, o livro Entre Arquiteturas e Cenografias elucida a intensa contribuição da arquiteta que soube aplicar sua arquitetura no campo do teatro.
Desde o primeiro teatro da Praça Tiradentes, em 1813, até os anos 1950, o Rio de Janeiro viu o nascimento, o apogeu, a glória e a decadência desses espaços.
Analisando através de iconografia e textos de crônicas e periódicos de arquitetura os teatros e os cinemas que tornaram célebres os espaços em questão, investiguei também a permanência do palco italiano nos primeiros cinemas edificados na cidade, verdadeiros palácios que, apesar das diferentes características das salas de espetáculo, tomaram as formas teatrais de empréstimo.
O livro delineia ao lado do espaço arquitetural e urbanístico, sob que processos desenvoveu-se o espaço social destas duas áreas da cidade que se pretende revitalizar.
Foi distinguido com o Prêmio Anual do Instituto dos Arquitetos do Brasil 2000.
A cirurgia representada pela abertura da mais larga avenida carioca, que abriu 80 metros de espaço livre no centro - que representava a p]opria alma da cidade - , eliminou da memória coletiva dos cidadãos: praças, 4 igrejas coloniais, casas e estabelecimentos comerciais que faziam parte de um Brasil "menos moderno".
Investiguei as condições em ocorreu a destruição de simbolos importantes da cidade, e também a construção de novos marcos arquiteturais na paisagem urbana: o Ministério da guerra e a Estação Ferroviária Central do Brasil, hoje elementos emblemáticos da cidade.
OBS: O livro constituíu um capítulo da dissertação de mestrado: Espaços do poder: o Rio de Janeiro no Estado Novo.
BOOKS EDITED by Evelyn Furquim Werneck Lima
Direção Geral: Evelyn Furquim Werneck Lima
Cotejando desenhos, escritos e espaços teatrais procurou-se investigar que teorias de restauro teriam embasado seus projetos desenvolvendo a tese que Lina utilizou o Restauro Crítico em suas obras de conservação de imóveis pré-existentes. Além da arquitetura teatral, o livro aborda a cenografia de cinco peças e dois filmes. Iniciando suas atividades de cenógrafa no período que passou na Bahia, antes da Revolução de 1964, Lina cenografou duas obras de Berthold Brecht, A Opera dos Três Tostões e Na Selva da Cidade, uma de Albert Camus, Calígula, uma junto ao grupo Oficina, Graças Señor e uma de Alfred Jarry, inspirada em Ubu- Rei, esta última já em 1985, sem tanta conotação política. Paralelamente, foram analisados dois filmes com cenografia da arquiteta: A Compadecida e Prata Palomares. Confrontando os conceitos de arte e técnica com base nos pressupostos teóricos de Giulio Carlo Argan (1993), bem como conceitos de Christian Norbert Schulz sobre o genius loci, o livro Entre Arquiteturas e Cenografias elucida a intensa contribuição da arquiteta que soube aplicar sua arquitetura no campo do teatro.
Desde o primeiro teatro da Praça Tiradentes, em 1813, até os anos 1950, o Rio de Janeiro viu o nascimento, o apogeu, a glória e a decadência desses espaços.
Analisando através de iconografia e textos de crônicas e periódicos de arquitetura os teatros e os cinemas que tornaram célebres os espaços em questão, investiguei também a permanência do palco italiano nos primeiros cinemas edificados na cidade, verdadeiros palácios que, apesar das diferentes características das salas de espetáculo, tomaram as formas teatrais de empréstimo.
O livro delineia ao lado do espaço arquitetural e urbanístico, sob que processos desenvoveu-se o espaço social destas duas áreas da cidade que se pretende revitalizar.
Foi distinguido com o Prêmio Anual do Instituto dos Arquitetos do Brasil 2000.
A cirurgia representada pela abertura da mais larga avenida carioca, que abriu 80 metros de espaço livre no centro - que representava a p]opria alma da cidade - , eliminou da memória coletiva dos cidadãos: praças, 4 igrejas coloniais, casas e estabelecimentos comerciais que faziam parte de um Brasil "menos moderno".
Investiguei as condições em ocorreu a destruição de simbolos importantes da cidade, e também a construção de novos marcos arquiteturais na paisagem urbana: o Ministério da guerra e a Estação Ferroviária Central do Brasil, hoje elementos emblemáticos da cidade.
OBS: O livro constituíu um capítulo da dissertação de mestrado: Espaços do poder: o Rio de Janeiro no Estado Novo.
Este capítulo do livro Patrimônio Cultural na Contemporaneidade_ Prática elabora uma análise das problemáticas apresentadas por três acadêmicos sobre experiências de reabilitação urbana no Porto e em Bolonha, questões que possibilitam interligar o patrimônio com a habitação social no Brasil , e a intensa subutilização dos imóveis preservados no centro do Rio de Janeiro.
LIMA, Evelyn F.W.; BEZELGA, I. ; LYRA, C. . Memória e representação do passado recente: o patrimônio industrial português reconvertido em Évora e Guimarães. REVISTA ARA, v. 15, p. 45-72, 2023.
Keywords: Cultural Heritage. Architectural Rehabilitation. Industrial Architecture. Social Memory. Social Representations.
This is the author's version of chapter 8 from Textos do Brasil n. 16
Please refer to the published text when you quote from this chapter.
Lima, E. F. W., 2017. "Architecture-Event, Installation, or Temporary Theatre? A Study of the Shed in London". In: Theatre Architecture from the Renaissance to the 21st Century. 1st. ed. Rio de Janeiro: Unirio/PROEXC/CNPq. v. 1. pp.74-80.
Lima, E. F. W., 2017, "Amphitheatres, Jeux de Paume, and Corrales". In: Theatre Architecture from the Renaissance to the 21st Century. 1st. ed. Rio de Janeiro: Unirio/PROEXC/CNPq. v. 1. pp.8-24.
This is the author's version of chapter 3 from the book co-edited by Andrew Filmer and Juliet Rufford, Performing Architectures: Projects, Practices, Pedagogies. Please refer to the published text when you quote from this chapter.
This chapter of the book Performing Architectures examines two theatres by Italian-Brazilian architect Lina Bo Bardi:the iconic Teatro Oficina and the SESC Pompeia Theatre, both located in São Paulo, Brazil. The Teatro Oficina is exemplary of the sort of theatre architecture envisaged by Nietzsche – a dynamic choric space where the boundary between spectator and performer is always in question. The two theatres discussed in this chapter, though hugely significant, are still not widely known and discussed. The research demonstrates the culturally radical nature of Bo Bardi’s architectural practice, which, conducted in collaboration with artists and artisans, enabled the development of such provocative spaces of assembly. Besides, the text emphazizes Bardi’s architectural practice, and describes her negotiation of European and indigenous Brazilian ideas and practices.
Kozień-Woźniak, M., Fąfara, M., Porębska, A., Lima, E., F., W. (2024) ‘Modern projection technologies in historic theatre halls of Cracow – opportunities and risks’, Space & Form | Przestrzen i Forma 57. Polish Academy of Sciences, Gdansk. 13 http://doi.org/10.21005/pif.2024.57.B-04
This is a draft of the article 'A poetic-critical process of rehabilitating the industrial heritage. The SESC Pompeia Recreational Center by Lina Bo Bardi was published in Sciami. Webzine semestrale di Teatro, Video e Suono | October 12, 2022.
The article discusses the recovery and reuse of an old factory in São Paulo into a center for culture, leisure, and sports, including a theater. It is an iconic work by the Italian-Brazilian architect Lina Bo Bardi, who curiously installed her office on the construction site, giving freedom to the masters and workers, even though they had to follow her drawings and guidelines. Using the method of critical restoration, possibly inspired by her countrymen Argan and Brandi, Bo Bardi created poetic environments for the social facilities of the center, with the streets of the old factory transformed into quality public spaces. However, it was in the design of the sports blocks and the exposed concrete with 'holes' as ventilation openings that the architect and her interns gave vent to the poetics of the Brazilian Brutalist School of Architecture, creating a harmonious contrast with the old factory sheds.
LIMA, E. F. W.; MESENTIER, L. M. Política urbana e patrimônio histórico e cultural: o Centro e o pericentro do Rio de Janeiro. Brazilian Journals of Development, v. 6, online, 2020. https://www.brazilianjournals.com/index.php/BRJD/article/view/15054ilianournal of Development
This is the author's version of the article published in Brazilian Journal of Development. Please refer to the published text when you quote from this article.
ABSTRACT:
In this article, we aim to discuss the necessary integration between urban planning policies and policies of heritage preservation concerning interventions in the peripheral districts to the central area of Rio de Janeiro. Part of this area is already listed in the United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage List as Urban Cultural Landscape. Departing from a theoretical approach, we identified the consequences of the urban dynamics in the centre and peripheral centre regarding the social tissue of these areas, which should maintain its cultural identity.
Keywords: urban dynamics; cultural heritage; peripheral areas; cultural identity; Rio de Janeiro
This is the author's version of the article published in ArtCultura. Please refer to the published text when you quote from this article.
Abstract
An accurate exam on the Western history of theatre architecture in the modern and contemporary period proves the almost complete absence of critical works requiring an urgent need for historiographic studies that expands research in this area. Architectural historians in the 20th and 21st centuries do not devote themselves to the study of the theatrical building - an object of canonical treatises in the Renaissance and the 17th century. Grounded in Michel de Certeau's historiographic concepts (1975), this article aims, above all, to analyze methodological and ideological processes applied by three architecture historians and three theater theorists who have addressed the theme in some way, and under what different theoretical approaches, in the sense of arguing that the historiography of architecture for the modern and contemporary performing arts is practiced in contemporary times by theater theorists with greater intensity than by architectural historians.
Keywords: historiography of architecture; theatre architecture; history of theatrical space, Certeau, Tafuri.
DOI: https://doi.org/10.22456/2236-3254.101038
This is the author's version of the article published in Cena ( UFRGS). Please refer to the published text when you quote from this article.
Abstract:
Based on the curators´ guidelines of the Prague Quadrennial of Performance and Space Design 2019, the architects, scenographers and costume designers who research at the Laboratory for Theatrical Space and Urban Memory Studies (existing since 1994), selected, among other experiences, the site-specific proposal - an ephemeral theatre initially designed for a single performance staged in December 2016 - in honor of 400 years since Shakespeare's death. On that occasion, the team designed the Temporary Open-Air Theatre and staged fragments of The Tempest at the Federal University of the State of Rio de Janeiro. At that time, we recorded a 40-minute video of the collaborative process for the architectural design and the whole production, which served as the basis for the preparation of a new 5-minute mini-documentary - detailing the site-specific architecture. This new video of the Temporary Open-Air Theatre Project was sent to the PQ19 curators and was selected among the finalists and exhibited throughout Prague Quadrennial 2019, from 06 to 16 June. This article discusses the creation process grounded in Pearson´s (2001) and Irwin´s (2007) theoretical concepts.
Keywords: Ephemeral Architecture; Temporary Theatre; Site-Specific.
This is the author's version of the article published in Urdimento vol. 2 , n. 38. Please refer to the published text when you quote from this article.
Abstract:
Unconventional spaces used for performance and theater have been increasingly appropriated by contemporary directors, mainly due to the spatial qualities with which the current scenic dynamics involves performers and participants, generally called site-specific. Based on the theories of Carlson (1989, 2012), Rufford (2015) and Pearson (2001), this article discusses occupations of different spatial configurations, whether in industrial warehouses, in public or semi-public spaces in the city that ensure a participatory relationship between stage and audience and establish a relevant role in fruition between body and space, performed outside the theater building.
Keywords:
Theatrical space. Scenic dynamics. Found-space. Theatre architecture. Event-space.
ARJ | Brazil | V. 4, n. 1 | p. 76-95 | Jan. / June 2017
LIMA, Evelyn Furquim Werneck. O Teatro Popular Oscar Niemeyer em Niterói e o Teatro Raul Cortez em Duque de Caxias. Arquitextos, São Paulo, ano 18, n. 205.00, Vitruvius, jun. 2017 <https://www.vitruvius.com.br/revistas/read/arquitextos/18.205/6587>.
Based on the research on contemporary theatres in the State of Rio de Janeiro, carried out from 2015-2017, this article discusses, analyses and presents two theatres that persist in the modern tradition as examined in the light of the five theoretical reasons of Niemeyer's architecture (Mahfuz, 2007), as they prove the continuity of the concepts embraced by the architect since the 1940s.
brief reference to the destroyed landmarks, the dispersion of very active ethnic groups that lived and worked in the area, and the subsequent urban settlement analysis in the three sections of the avenue described in the Planning Commission of the City reports in 1941. Michel Foucault’s concepts (1975) guide the analysis of the power of the urban discourse on the occasion of the opening, Aldo Rossi’s statements on phenomenology allow analyzing the old urban fabric (1966) and David Harvey’s accurate work on the condition of post modernity (1990) helps on the findings of the most recent appropriation of spaces resulting from the intervention.
ISSN - 1983-6031
The surgery represented by the opening of the widest avenue in Rio, which opened up 80 meters of free space in the center - which represented the very soul of the city -, eliminated from the collective memory of the citizens: squares, 4 colonial churches, houses and commercial establishments that used to part of a "less modern" Brazil.
I investigated the conditions in which important symbols of the city were destroyed, as well as the construction of new architectural landmarks in the urban landscape: the Ministry of War and the Central Railway Station of Brazil, today emblematic elements of the city.
OBS: The book constituted a chapter of the master's dissertation: 'Spaces of Power: Rio de Janeiro in the Estado Novo ( 1937-1945).
Evelyn Furquim Werneck Lima
PATROCÍNIO CULTURAL
CAU/RJ - Conselho de arquitetura e Urbanismo do Rio de Janeiro
REALIZAÇÃO
UNIRIO ; LEG T-5 ; PROPG/DPq ; CNPq ; FAPERJ ;