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lllARKlll

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Posts posted by lllARKlll

  1. Não, um 20 na FAUTL é um 10 na Lusíada... e eu não estou a gozar consigo, muito menos a exagerar... Aliás, eu não minto, quando digo que toda a geração de Arquitectos Portugueses com algum prestígio, foram formados na Lusíada, todos sem excepção... senso comum. (Errrr)

  2. Vamos a uma caso que recentemente tive:

    "Tive um processo de licenciamento parado na CM dada a necessidade de obter da ARH Licença para implantar um fossa séptica de acordo com o projecto de especialidades elaborado por um Eng. idóneo, cerca de 1 ano após (?) o requerimento a ARH, a ARH dá a respectiva licença para a sua implantação de acordo com o projecto apresentado, passados uns meses, os SMAS, contrariando a ARH e o próprio Projecto de Especialidades, feito por um Eng e escrutinado pela ARH, emitem um parecer dizendo que a fossa deve ser estanque e sem o poço absorvente".


    Resumindo, a CM depende da Licença da ARH, a ARH emite a licença de acordo com a fossa apresentada, os SMAS contrariam a ARH, retirando o posso absorvente da fossa... se isto tudo soa ridículo, não, o simples facto de se ter passado em Torres Vedras, torna esta caso perfeitamente normal, em Torres Vedras, ridículo é sinónimo de normal, um regionalismo portanto.
    Eu quando vou à CM Torres Vedras, reparo que as pessoas tem escrito na testa:

    "Eu sou ridículo, mas recebo o meu salário ao fim do mês".


    Quanto ao seu caso, tente primeiro a Ordem dos Arquitectos, eles costumam ajudar as Arquitectos com quotas em dia.



  3. A cascade of chains on the facade, dynamic space, mobile, changing, not what you would expect from a bank, especially in a province at the foot of the Maritime Alps. The branch of this Credit Agency, winner of a closed competition, brings a breath of lightness and a levity that would be more common in a completely different sort of building; an exhibition centre or a performance venue, for example.

    This bank is stripped of that entire traditional image which characterises an institution of this type and instead presents a new unedited image of itself.

    Surprising and innovative outside, intimate and welcoming inside.

    Although made up mainly of young people, the Kuadra studio of architects knows how to obtain the very best from the materials they use with rigor and finesse. Glass, metal and stainless steel are all combined in a clever alchemy that highlights consistency, form, quality and singularity, while never neglecting composition, which remains precise and clean.

    The best way to fulfill the needs of the future customers and employees are constantly taken into consideration during the process of the project.

    Strips of light, transparent staircases and pathways at different levels mean that clients in this bank will not be limited to cueing at the teller’s counter. They will have an opportunity to experience an architectural quality that Le Corbusier christened Architectural Promenade.

    The architecture seems like an ode to clarity, transparency, to conceptual essence itself, while at the same time never losing sight of that direct functional relationship with the public, not just words from a bank worker’s manual, but the real public; an old man, a parent a child, all with differing needs. There is a wide, luminous open informal space given over to a children’s’ play area, quite a novelty in a bank, besides the obligatory comfortable sofas at the entrance. Wherever one goes from the counters to the meeting rooms one is breathing in that atmosphere of ordinary domesticity that never descends into the banal or predictable.

    The inclusion of the chains on the façade, 11 linear kilometres, are no mere stylistic or aesthetic pretence, no external second skin. The idea is much more considered. The whole building, changes, shimmers and modifies its physical consistency. The curtain of chains hanging from on high fluctuates lightly letting off a gentle ringing, like Tibetan prayer bells. It captures the light bringing it inside, moulding it, and changing it, thus transforming the massive potentially heavy interior so that the whole building becomes a gigantic semitransparent lamp. In direct sunlight they act as protective sunshades.

    Functionality and poetry combined naturally, without being pretentious. The result is surprising.

    Fonte: Arch Daily



  4. C. F. Møller Architects placed first in a competition to design eighteen sustainable town houses for Norra Djurgaardsstaden, Stockholm. The town houses are part of a larger effort to convert the area of Norra Djurgaardsstaden into a completely high-profile environmental area. The architectural expression of the residences finds inspiration in the neighboring cultural center and Husarviken, which flows into the archipelago, and the Stockholm National City Park. According to C.F. Møller, “The project makes it possible to live a modern life based on sustainable solutions.”

    The 18 total buildings are broken into 5 different types which will be built as staggered modules. The staggering of the main volumes allows extra light to penetrate the narrow sites, and provides great views of the waterside for each unit with the potential for green terraces. Plus, the intelligent lighting, solar panels for heating, and heat recovery, in addition to the massing, will help minimize energy consumption.

    Green roofs will top each town house, which – along with a landscaped pond in the common yard – will collect rainwater, convert CO2, and provide a fertile ground for biodiversity.

    The main goal of the houses is to adapt to global climate changes, so that in 2030 the district will no longer make use of fossil fuels – and thereby not contribute to the emission of CO2. The energy consumption of the living units will not exceed 55 kWh/m²/year, including a maximum of 15 kWh/ m²/year used for electricity.

    The sustainable approach is continuous throughout the building life cycle – from construction phase to operational phase and a possible later decomposition phase.

    Fonte: Arch Daily


  5. OMA has won the competition for a major new library, the Bibliothèque Multimédia à Vocation Régionale (BMVR), in Caen, France. The 12,000m2 building will be the focal point of new development in Caen. Surpassing five submissions by internationally-renowned competitors, the project, led by OMA associate-in-charge Clément Blanchet, will be OMA’s first cultural building in France.

    The new library, located at the tip of Caen’s peninsula, includes four protruding wings that point towards four of the city’s landmarks: the abbeys Abbaye-aux-Dames in the north and Abbaye-aux-Hommes in the east; the central train station to the south; and the site of proposed future developments in the west.

    The library consists of two intersecting reading rooms, which encourage maximum interface between the programmed disciplines: human sciences, science and technology, literature, and the arts.

    OMA’s Clément Blanchet commented: “Instead of having four distinct areas linked by bridges, space is structured along two intersecting axes, creating a space of confluence for both knowledge and people.”

    In the exterior spaces created by these intersecting reading rooms, the library interacts with its surroundings, opening up to a park, pedestrian pathway and waterfront plaza. Large windows span the height of the reading room and provide natural light. With dynamic views onto Caen and a simultaneous internal transparency, the building is an observatory of knowledge. It encourages the contemplation of the urban or cultural landscape, even as it serves the library’s traditional role as a space for reading, studying, and interacting with other users.

    Philippe Duron, President Communauté d'agglomération Caen la Mer commented: “To build a library today is to believe in the future of our society, to acknowledge a desire to give everyone the tools to participate in our information age. For Caen and its surrounding region, the library makes physical, embodies, this desire. The library symbolizes both the international ambition of urban development and gives focus to the major renaissance of the peninsula. The architectural quality and intellectual influence of the BMVR will make it a flagship of its region.”

    The design’s sustainable approach responds to local climactic conditions to ensure energy efficiency. Shallow floor plans maximise available natural light, creating the ideal reading environment crucial to a library.

    With the BMVR in Caen, OMA continues its extensive experience designing and building libraries. In 2004, OMA completed the acclaimed Seattle Central Library, which redefined the library as a diverse public space, no longer exclusively dedicated to books, but now also an information store where all potent forms of media are presented equally and legibly. OMA’s design for the Education City Central Library in Qatar is currently in progress. In Paris, OMA made three groundbreaking proposals for libraries: Très Grande Bibliothèque de France in 1989 and two libraries for Jussieu University in 1992.

    OMA has a long history working in France, including its famous proposal for Parc de la Villette, Paris in 1982, and several masterplans and studies for La Defense. In 1994, OMA completed Euralille, a masterplan for a 70-hectare business and civic centre comprising of a hub for European high-speed trains and the Grand Palais. OMA has also built two landmark private houses in France: the Villa Dall’ava in Paris (1991) and Maison á Bordeaux (1998), which was later awarded Monument Historique status.

    Fonte: Bustler




  6. In an off-grid location Bhagwat’s distinctive office building is colonised to become the nations first contemporary art gallery. Photography by Edmund Sumner

    What is most curious about this building, besides the billowing brick walls and blinkered Cor-ten exterior, is its setting. Situated in the middle of Delhi’s satellite city Gurgaon, the precise location of Devi Art Foundation is Plot 39, Sector 44, Gurgaon (Delhi), India. The address hints at the placelessness of this (non) place, built as part of the National Capital Region of India; an odd setting, perhaps, for the nation’s first private contemporary art museum.

    While Gurgaon is an urban horror, however, this building is distinctive enough in looks to make up for what it lacks in location. Its architect, 50-year-old Aniket Bhagwat, is also distinctive in character, feisty and argumentative at times, but displaying in conversation the same sort of ceaseless and enthusiastic energy exhibited by this busy building.

    A return to craft and the specificity of Indian modernism are what turns Bhagwat on, as he speaks with pride about the opportunity and promise of contemporary Indian architecture. The practice - founded by Bhagwat’s father, Prabhakar Bhagwat - is one of the country’s leading landscape architects, and was responsible for projects such as the remodelling of an 18th-century fort near Udaipur into the luxurious Devi Garh hotel.

    The family firm that commissioned that restoration is also the client behind this project, briefing Bhagwat to design an office building for its emerging boutique hotel operation and the family’s more established paper mill company, which gives this building its official name, Sirpur House.

    Its use as an art foundation came later as owner Lekha Poddar and her son Anupam became increasingly established as leading collectors of contemporary Indian art. With this building already in development, they decided to colonise space for art, which explains both its off-grid location, set among other isolated corporate HQs, and its basic regularised form, comprising two linear ranges of accommodation that respond to the site’s statutory planning constraints.

    With set-backs and scale predetermined, the building’s initial moves are the same as its neighbours’. However, while the best of the rest adopt the conventional corporate uniform of curtain walling, and the worst espouse neo-classicist po-mo, Sirpur House is a bespoke, hand-crafted creation.

    Over-detailed? Yes, without doubt. Complicated to build? Yes - it took eight years to complete. But nonetheless it is a unique embodiment of both its client’s and architect’s love of craft.

    ‘It was never meant to be an art foundation,’ recalls Bhagwat. ‘It was meant to be a regular office building, and the art has been put up in a standard office bay. The space has been taken over so that [the client] can show the art until he has the money to build a museum, or until the office spaces are needed for that purpose.

    They didn’t need all of it straight away.’ Accommodating a traditional paper mill company and chi-chi hotel chain side by side gives the building a kind of split personality, expressed not only through the shift from the external Cor-ten steel skin to the inner faces of brickwork, but also more overtly between the modes of fenestration on each side of the central courtyard.

    ‘The paper mill is a very old fashioned business that has been going for generations,’ says Bhagwat. ‘So they are very stiff. On the other hand, the son’s activities - the hotels, a design company and of course now the art foundation - all have to co-exist in the same space.’ As a result, one side of the building is a very stoic, straightforward, reasonably well-proportioned brick facade, while the other side gets ‘feisty, joyous and talks more’.

    Bhagwat compares the buckled brick fins to sheets of paper that have fallen from the paper mill offices and landed in the courtyard. ‘At one point we actually started throwing pieces of paper from the air to see how they fall and clash, and [watching them] bend and crease, we wondered if we could make brick walls like that.

    Was it really possible?’ It was possible, but the result is perhaps the least convincing part of the building and, worryingly, Bhagwat is certain that the walls would collapse in the event of a significant earthquake. But as he repeatedly says, ‘It’s fun’. Joking aside, elsewhere the building manifests the more serious side of Bhagwat’s architecture, with each detail expressing the care and attention of a talented team of designers.

    The offices are especially successful, but even these break the rule of standard commercial space, with a split section differentiating between open and cellular enclaves. Furnished with fine timber joinery, they have the calm, timeless quality of a library reading room.

    The proportions also have a more domestic scale, with the narrow plan giving occupants the option to naturally ventilate the space, pre-cooling the exposed concrete floors and soffits.

    The biggest surprise is to be found in the basement. This also bears the signs of Bhagwat’s ceaseless pursuit of craft, with fine cast concrete and metalwork elevating its status from mere car park to occasional art space. ‘We always knew it was going to be a parking lot,’ he says, ‘but the client had begun talking about it as a place for him to use for events and to show his art, so it needed to be a little better than a straightforward parking lot.

    It was always going to be built in exposed concrete, so in that sense we just detailed it a bit more than you would normally do. But that was it.’ Through its tectonic and material rigour, the building completely outshines its more glitzy neighbours.

    Recognising the unmistakable references to both Louis Kahn and Balkrishna Doshi, Bhagwat says: ‘I guess we should admit that we are still the product of Ahmedabad’s Centre of Environmental Planning and Technology [where Doshi’s influence is still felt today], and through this I guess our subconscious minds will never let us stray beyond a certain point.’

    Fonte: Architectural Review



  7. Brod / The Ship / La Nave: A Floating Pavilion for Croatia at the Venice Biennale

    56 nations are displaying their architectural finery at the 12th International Architecture Exhibition in Venice over the next few months, and with a record number of visitors estimated to visit the exhibition, it is paramount that each country constructs something both inventive and unique.

    A coalition of 14 Croatian architects has henceforth designed a rather obtuse floating pavilion as part of a three-stage plan to wow visitors. Inside the Croat exhibition space at the Arsenale, an array of cargo boxes are embossed with records of the pavilion design, construction information and its subsequent journey across the Adriatic to be moored at Venice’s main pier - Riva dei Sette Martiri - during the opening of the Biennale. A 96-page information booklet has also been created and will be handed out to each and every visitor, with textual and photographic documentation of the design process.

    The real star of the show however is the floating pavilion itself; a bundle of wire mesh measuring 19m by 9m by 5.5m resting on an existing barge in Venice’s famed waterways. Whilst the structure may appear to be something of a entangled mass of building waste, it has in fact been carefully constructed by a dozen welders with over 40 layers of Q385 weeded wire mesh and weighs in excess of 30 tonnes. A fragile structure, the pavilion’s coarse protrusions are counteracted by a void in its centre, from which visitors can experience the floating mass on an intimate level.

    A simple structure and almost ‘invisible’ from a distance, the pavilion reveals itself with different densities of steel mesh, transparencies, and vision lines. It may not be to everyone’s taste but one thing’s for sure – everyone is talking about the Croatian Floating Pavilion.

    Sian Disson
    News Editor

    Fonte: World Architecture News




  8. Inspired by Le Corbusier’s Living Machine, this housing project situated in Johor, Malaysia examines the advantages of a hexagon as building unit. The proposal takes into consideration the rapid development of Asian cities due to an unprecedented exodus from rural to urban settlements.

    Tay Yee Wei, a Malaysian architect, proposes plug-in dwellings where the cities will pay the costs of the primary structure (reinforced concrete) and the residents will only be responsible of their individual units. Each unit is based on a hexagon that could be combined with other modules to create larger homes for bigger families. The idea is to provide enough flexibility with one single component. Some of these units could be customized as green terraces and recreational areas while others could be used as research facilities.

    Another important aspect of the project is that it could be dismantled with ease and transported to another location. In that way, the architecture responds to the different housing demands of the city according to their growth and economic situation.

    Fonte: eVolo




  9. In 1948, Pastor William Buege, commissioned the renowned Finnish-American architect Eliel Saarinen to design Christ Church Lutheran, in Minneapolis’s Longfellow neighborhood. Saarinen, the designer of the Helsinki Railway Station and architect and director of the Cranbrook Educational Community in Ann Arbor, produced a masterwork. The architectural press lauded Christ Church as embracing modern principles while eschewing historical styles. It was - and is - widely considered to be the building that heralded a new form of ecclesiastic architecture. Four years after Eliel Saarinen’s death, the congregation approached his son, Eero Saarinen to expand the sanctuary facility with an Education Wing. Eero, architect of the St. Louis Arch, collaborated with Glen Paulsen, AIA, in the design of a humble, elegant and deferential addition. Completed the same year as Eero Saarinen’s exuberant Dulles Airport and TWA Flight Center, the Education Wing houses the elegant Luther Lounge, a sky-lit atrium and preschool spaces. Its modest presence belies it large program; downstairs there are spacious education rooms, an industrial-scale kitchen and a gymnasium/theatre.

    Fonte: Friends of Christian Church Luteran
  10. A Unidade de Marselha, tem o mesmo telhado, partilha paredes meias e tem a economia como um dos motes principais, não obstante é um edifício apesar de ter multiplas funções reunidas, foi construído, gerou algumas cópias pelo mundo, foi além do Manifesto Teórico e foi uma Obra de Arquitectura. Os Arquitectos quando tentam ser Urbanistas, em larga escala, no verdadeiro sentido da palavra, fazem coisas destas em cima.

  11. Até poderia alegar:

    Estruturalmente tudo é possível, desde que exista dinheiro.


    Admitindo esta possibilidade, poderia colocar outra:

    Por que motivo devemos repetir elementos na construção, em nome da economia de material e meios.


    Admitindo ainda outra:

    Porque razão devemos partilhar um mesmo telhado por dezenas de fracções, ou mesmo paredes meias entre frações, se podemos, fazer casa individualizadas, com custos muito superiores em material e mão de obra.


    Ainda poderia admitir outra possibilidade:

    Porque razão as coisas terão que ser explicadas, se é muito mais fácil inventar uma história.


    Esta imagem diz tudo:
  12. Eu sempre achei a estrutura metálica uma alternativa viável do ponto de vista estrutural com a adenda de ser mais "sustentável"... mas a plasticidade do betão não tem par, basicamente faz tudo, é uma facto que o betão veio para ficar, será nas alterações à "matiz" ou as "fibras" que compõem o betão, que o mesmo irá evoluir.

    Ainda em relação ao primeiro livro e respectivos autores, importa ver este artigo, que encontrei hoje:

    (...)"Materiais duráveis

    Quanto maior for a durabilidade de um material, maior será a sua vida útil e consequentemente menor será o seu impacto ambiental. Se por exemplo aumentarmos a durabilidade do betão de 50 para 500 anos, haverá uma redução do seu impacto ambiental de um factor de 10 vezes [44]. Infelizmente são inúmeros os casos de deterioração precoce de estruturas de betão armado. Mehta [45] refere um caso
    de deterioração de estacas 12 anos após a sua construção e também um caso de um túnel no Dubai que concluído em 1975, teve de ser completamente reparado em 1986. Gjorv [46] indica um estudo sobre pontes construídas na Noruega após 1970 em que 25% apresentavam deterioração por corrosão de armaduras. Ferreira [47] cita estudos que indicam que 40% das cerca de 600000 pontes existentes nos Estados Unidos estariam afectadas pela corrosão, com um custo de reparação de aproximadamente 50000 milhões de dólares. A vulnerabilidade deste material fica a dever muito ao material ligante (cimento portland), que apresenta uma elevada quantidade de cal, facilmente susceptível de ataque químico, situação agravada pela incapacidade do cimento portland em conseguir uma boa aderência aos agregados o que induz níveis de permeabilidade relativamente elevados, facilitando o ingresso de água, gases e substancias agressivas, que provocam fenómenos de carbonatação e de corrosão das armaduras. A utilização por isso de ligantes alternativos ao cimento portland com uma durabilidade superior a este material, como é o caso dos ligantes activados alcalinamente constitui assim um passo no sentido da sustentabilidade da construção.

    F.PachecoTorgal, Said Jalali

    Congresso Construção 2007 - 3.º Congresso Nacional
    17 a 19 de Dezembro, Coimbra, Portugal
    Universidade de Coimbra"(...)

  13. 3/4 de tudo o que fiz em termos de Arquitectura, vulgo projectos concretizados ou não, no mercado de trabalho, são absolutamente ridículos, por terem que obedecer a um cliente e a um mercado, muitas vezes mal desenhados, mal orientados, com uma estética datada.

    Grande parte do que fiz em termos de Arquitectura, vulgo projectos concretizados ou não, free of charge, ou por outras palavras, para auto-recriação, passatempo, hobbie, seja o que for, tem alguma qualidade.

    Não é o facto do projecto ser pago, que lhe vai dar o standart de qualidade... isto é independente... as vezes chegamos lá, outras, nem por isso!

  14. Esteja descansada, não vamos dar excessiva importância a este livro... isto não se trata de uma daquelas pérolas literárias feitas sem fins pecuniários, que se teriam perdido, por morte do autor e que mais tarde se iriam descobrir, por intermédio de alguém... e se tornado, por mero acaso, paradigmáticas em determinado momento da história.

    Isto é antes o caso de alguém que pretende ganhar dinheiro... e se é o dinheiro que subjaz... existem inúmeras razões para desconfiar...

    Eu não recebo nada pelas opinião que aqui deixo, é absolutamente free of charge...




  15. Long Island-based firm Bates Masi + Architects has been honored with two AIA New York State Design Awards in the Residential Small Project Category. Competition for this award is open to Architects registered in the State of New York with projects located around the world. Awards will be presented on October 15 at the Buffalo Niagara Convention Center at the annual AIA New York State Convention.

    The Pryor Residence in Montauk, New York was awarded the AIA NY State 2010 Award of Merit. In addition, this project was featured in the July 11, 2010 issue of New York Magazine and noted for evoking childhood experiences of camping through the design. A seamless relationship between the house and nature occurs when the 36’ wide sliding doors completely pocket into the walls. Bronzed metal sunscreens slide to allow varying levels of sunlight for unique living experiences.

    AIA NY State also honored the firm with its 2010 Citation of Design Award for Noyack Creek Residence located in Southampton, New York. Utilizing a limited material pallet and orienting the views out to the tidal estuary liberates the predetermined building envelope of this residence on a narrow lot. Noyack Creek was featured in the House and Home Section of the New York Times in 2009 as well as on our sister site Archinect.

    The architectural firm based on the East End of Long Island has been practicing for the past 46 years and has completed a range of projects including residential, institutional and commercial located around the world.

    Fonte: Bustler


  16. 8 HOUSE is located in Southern Ørestad on the edge of the Copenhagen Canal and with a view of the open spaces of Kalvebod Fælled. It is a big house in the literal sense of the word. A house offering homes in all its bearings for people in all of life’s stages: the young and the old, nuclear families and singles, families that grow and families that become smaller.

    The bow-shaped building creates two distinct spaces, separated by the centre of the bow which hosts the communal facilities of 500 m2. At the very same spot, the building is penetrated by a 9 meter wide passage that connects the two surrounding city spaces: the park area to the west and the channel area to the east.

    Instead of dividing the different functions of the building - for both habitation and trades - into separate blocks, the various functions have been spread out horizontally. The apartments are placed at the top while the commercial program unfolds at the base of the building. As a result, the different horizontal layers have achieved a quality of their own: the apartments benefit from the view, sunlight and fresh air, while the office leases merge with life on the street.

    Announcement of the Award

    Completing its trilogy of housing projects in Oerestad with the same client, BIG + green roof contractor Veg Tech receives the award for 8 House’s 1,700 sq m sloping green roof. The Scandinavian Green Roof Association based in Malmo, Sweden awarded the Best Green Roof in Scandinavia at an award ceremony at the 8 House in Oerestad, Copenhagen.

    Since 2000, the association has promoted an increased use of green roofs in Scandinavia and created numerous working examples at its Malmo address. In addition the association and its members educate the positive impact of green roofs on urban ecology, and provide inspiration for legislation and building standards.

    The moss‐sedum roof of 8 House covers a long, steep and sloping roof surface descending 11 floors downward to the edge of a canal in Oerestad South opening up the interior courtyard to a view of the protected open spaces of Kalvebod Faelled. The 60,000 sq m mixed‐use development is designed in the form of a figure 8 by manipulating the housing typology most often found in Copenhagen. The massing steps up and down depending on access to daylight and views and is broken into four programmatic bars of retail and housing.

    Green spaces upon the roof and within the courtyard are strategically placed to reduce the urban heat island effect as well as providing a visual relief to the inhabitants. The first residents have already moved in while the building will be finally completed by 1st of October 2010. Bjarke Ingels of BIG commented: “The parts of the green roof that remain were seen by the client as integral to the building as they are visible from the ground. These not only provide the environmental benefits that we all know come from green roofs, but also add to the visual drama and appeal of the sloping roofs and rooftop terrace in between.”

    8 HOUSE

    PROJECT 8 HOUSE
    CLIENT HØPFNER A/S, DANISH OIL COMPANY A/S, STORE FREDERIKSLUND
    SIZE 60,000 M2, 475 RESIDENCES
    COST €92,000,000
    LOCATION COPENHAGEN, DK
    STATUS COMPLETED 2009

    Fonte: Bustler
  17. Eu não tenho dúvidas nenhumas, que cada vez mais, o que subjaz a qualquer interesse, é simplesmente o dinheiro e não ponho em causa a qualidade do Livro, porque não o li. Não é comum um Médico, Psiquiatra, Ortopedista exercer a sua profissão sem remuneração, mas nenhum deles fica descontente que a maleita que existe nos seus doentes continue... em nome do dinheiro, aliás, alguns até manifestam algum regozijo. Eu como Arquitecto, ficaria descontente a assistir ao colapso dos meus edifícios ao fim de 25 anos de construção, primeiro, seria um cliente insatisfeito, (25 anos?) segundo, por mais reciclável que seja a sua reconstrução é sempre um despesismo. Você acredita que tudo isto se resolve por via do consumo e da reciclagem ao fim de alguns anos, eu acredito que isto tudo se resolve poupando e dilatando um prazo para a reciclagem. Não vejo qualquer ligação entre produção de dinheiro e premissas ambientalistas, porque não existe relação. Você trabalha todos os dias, mas não é certamente a preservação do ambiente o seu objectivo de fundo.

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