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an inversion and placed them under the floor, so that the visitor is obliged to look down and revere them» (Lessa, 2014).

Figure 6 an inversion and placed them under the floor, so that the visitor is obliged to look down and revere them» (Lessa, 2014).

Related Figures (10)

Fig. 1 | Main actions undertaken by the Roberto Marinho Foundation (source: Farroco, 2016).
Fig. 1 | Main actions undertaken by the Roberto Marinho Foundation (source: Farroco, 2016).
Fig. 2 | Paco do Frevo (source: idg.org.br/). The building chosen to host the museum was built at the beginning of the 20th cet ury by the British Western Telegraph Company, which ended its activities in 197 Fig. 2). The building is included in the Architectural, Urbanistic and Landscape Con lex of the Historic Centre of Recife and it is listed in federal and municipal instance: PHAN and Special Zone for Cultural Historical Goods). It is also an importa uilding for the history of communications in Brazil; installed in its structure, there cable that connected Brazil to Europe for 65 years. The building was an example « he late English neoclassical style inspired by the Renaissance. The good resistance « rchitecture over time can be explained because of its «[...] constructive excellenc nd the high quality of the materials» (Carvalho, 2013, p. 58). The restoration proje vas commissioned to Grau (Group of Architecture and Urbanism), coordinated t
Fig. 2 | Paco do Frevo (source: idg.org.br/). The building chosen to host the museum was built at the beginning of the 20th cet ury by the British Western Telegraph Company, which ended its activities in 197 Fig. 2). The building is included in the Architectural, Urbanistic and Landscape Con lex of the Historic Centre of Recife and it is listed in federal and municipal instance: PHAN and Special Zone for Cultural Historical Goods). It is also an importa uilding for the history of communications in Brazil; installed in its structure, there cable that connected Brazil to Europe for 65 years. The building was an example « he late English neoclassical style inspired by the Renaissance. The good resistance « rchitecture over time can be explained because of its «[...] constructive excellenc nd the high quality of the materials» (Carvalho, 2013, p. 58). The restoration proje vas commissioned to Grau (Group of Architecture and Urbanism), coordinated t
The exhibition design for intangible heritage. Analysing the Paco do Frevo by Manzon Lupo B. | pp. 32-53
The exhibition design for intangible heritage. Analysing the Paco do Frevo by Manzon Lupo B. | pp. 32-53
Fig. 4 | Architectural plans (source: Carvalho, 2013; elaborated by the author).
Fig. 4 | Architectural plans (source: Carvalho, 2013; elaborated by the author).
Table 1 | Architectural program and area calculation, Pago do Frevo (source: Carvalho, 2013; elaborated by the author).
Table 1 | Architectural program and area calculation, Pago do Frevo (source: Carvalho, 2013; elaborated by the author).
The History of the Gold Path in Paraty (2003). The architect Glauco Capello coordi nated the restoration of a historical residence from 1754. In the exhibition areas, Bie Lessa «[...] sought in the population’s orality its guiding axis» (Finguerut and Suk: man, 2008, p. 261). The scenic setting incorporated aspects of local art and everyday objects. As she explained: «[...] inside the windows, instead of gold objects, we pre sented poor objects full of experience and meaning. In the pictures, we represented the people of Paraty by notorious personalities and ordinary citizens» (Lessa quoted it Miranda, 2008). Furthermore, the project proposed the city panorama as a museun object, stimulating the visual connection between interiors and exteriors. In Paco do Frevo. «!...1 Bia Lessa wished to include people in the museum’s con:
The History of the Gold Path in Paraty (2003). The architect Glauco Capello coordi nated the restoration of a historical residence from 1754. In the exhibition areas, Bie Lessa «[...] sought in the population’s orality its guiding axis» (Finguerut and Suk: man, 2008, p. 261). The scenic setting incorporated aspects of local art and everyday objects. As she explained: «[...] inside the windows, instead of gold objects, we pre sented poor objects full of experience and meaning. In the pictures, we represented the people of Paraty by notorious personalities and ordinary citizens» (Lessa quoted it Miranda, 2008). Furthermore, the project proposed the city panorama as a museun object, stimulating the visual connection between interiors and exteriors. In Paco do Frevo. «!...1 Bia Lessa wished to include people in the museum’s con:
There is a timeline elaborated with the anthropologist and historian Maria Lucia Montes and Leonardo Dantas, designed to connect frevo’s history to the main socio- political events of the 20th century. The information can also be found in the Book of Time, which plays a frevo song when touched. The walls became a large blackboard on which visitors can write with chalk, just like at the Rediscovery Exhibition. The overlapping layers of chalk from the visitors’ intervention create a strongly expressive language, perhaps referring to the universe of graffiti and street art, which contrasts with the white corridor (Fig. 6). On the floor, there are analogue clocks that show the time of different cities in the world, connecting diverse cultures in time and space through frevo. On the roof, there is an artistic installation with strips, inspired by the popular ‘pau de fitas’ dance (Fig. 7). Lessa also created an additional ornamental ele- ment composed by male and female figures from juxtaposing bathroom boards, that is, ordinary industrial objects applied to popular daily life. On the third floor, there are two private rooms disconnected from the outside 41 4 ¥ 4 slg 4 same . 1. : =r oo a. "1
There is a timeline elaborated with the anthropologist and historian Maria Lucia Montes and Leonardo Dantas, designed to connect frevo’s history to the main socio- political events of the 20th century. The information can also be found in the Book of Time, which plays a frevo song when touched. The walls became a large blackboard on which visitors can write with chalk, just like at the Rediscovery Exhibition. The overlapping layers of chalk from the visitors’ intervention create a strongly expressive language, perhaps referring to the universe of graffiti and street art, which contrasts with the white corridor (Fig. 6). On the floor, there are analogue clocks that show the time of different cities in the world, connecting diverse cultures in time and space through frevo. On the roof, there is an artistic installation with strips, inspired by the popular ‘pau de fitas’ dance (Fig. 7). Lessa also created an additional ornamental ele- ment composed by male and female figures from juxtaposing bathroom boards, that is, ordinary industrial objects applied to popular daily life. On the third floor, there are two private rooms disconnected from the outside 41 4 ¥ 4 slg 4 same . 1. : =r oo a. "1
Fig. 8 | Frevo Square, 3rd floor (source: bit.ly/3sMwlax). tiiltoiv VEEP IVA Y BAD CONPRERUINIER EM EEE A EME Dh BERRI ERIN pe The museological plan analysis demonstrated that the institution is not dedicated to material collecting practices. On the contrary, the museum operates supporting the digitisation of material collections from other partner institutions. Pago do Frevo in- tends to focus information and to connect practitioners, researchers and curious people interested in frevo. So, it can be considered a platform of «[...] solidarity and collabo- ration, developing a popularisation and articulation role with other networks» (Lyra,
Fig. 8 | Frevo Square, 3rd floor (source: bit.ly/3sMwlax). tiiltoiv VEEP IVA Y BAD CONPRERUINIER EM EEE A EME Dh BERRI ERIN pe The museological plan analysis demonstrated that the institution is not dedicated to material collecting practices. On the contrary, the museum operates supporting the digitisation of material collections from other partner institutions. Pago do Frevo in- tends to focus information and to connect practitioners, researchers and curious people interested in frevo. So, it can be considered a platform of «[...] solidarity and collabo- ration, developing a popularisation and articulation role with other networks» (Lyra,
2016, p. 110). The considered its main feature of RMF museums, present also at the Brazilian Football Reference Centre (Football Museum) absence of material do Recife aim to guarantee authenticity and legitimacy to the intervention, symboll- cally connecting the frevo’s origin at the Recife’s streets to the Paco itself. From the museum, it is possi in the streets. In this sense, the Frevo Square emerges as a synthesis space (Davallon, 1999), capable of connecting architecture and museography by creating a stage for the realisation of multi lack of institutional autonomy derived from this approach can be limit. The conception of museums as reference centres is a central and Tomorrow’s Observatory (Museum of Tomorrow). Given the collections, both ancient architecture and its location in the Bairro ble to see orchestra performances and the passage of frevo groups ple activities that would contribute to the development of frevo’s culture, renewing possibilities of interpreting the museum narrative. This space is sur- rounded by a vibrant atmosphere, colourful and full of curiosities that allow an inter- esting approach to t he rhythm, stimulating active visitor’s participation. At Paco do Frevo, the integrative design did not occur, so that architecture and
2016, p. 110). The considered its main feature of RMF museums, present also at the Brazilian Football Reference Centre (Football Museum) absence of material do Recife aim to guarantee authenticity and legitimacy to the intervention, symboll- cally connecting the frevo’s origin at the Recife’s streets to the Paco itself. From the museum, it is possi in the streets. In this sense, the Frevo Square emerges as a synthesis space (Davallon, 1999), capable of connecting architecture and museography by creating a stage for the realisation of multi lack of institutional autonomy derived from this approach can be limit. The conception of museums as reference centres is a central and Tomorrow’s Observatory (Museum of Tomorrow). Given the collections, both ancient architecture and its location in the Bairro ble to see orchestra performances and the passage of frevo groups ple activities that would contribute to the development of frevo’s culture, renewing possibilities of interpreting the museum narrative. This space is sur- rounded by a vibrant atmosphere, colourful and full of curiosities that allow an inter- esting approach to t he rhythm, stimulating active visitor’s participation. At Paco do Frevo, the integrative design did not occur, so that architecture and
ea ee eee ee le le Oe le ee ee ee ee ae As mentioned in this study, the Pago do Frevo museum can be connected to som strategies previously experimented by Bia Lessa. The designer often works with a gre: 1umber of expographic elements, encouraging visitors’ immersion by integrating a oossible architecture elements: floor, walls, windows and roofs. Lessa’s designs usuall ncorporate artistic and anthropological objects that are not presented as a part of th nuseum collections, but as scenic elements. Furthermore, one of her main affective er sagement strategies is the appreciation of the «{...] ordinary man, common hero» (Ce! eau, 1998, p. 28). The presentation of ‘each one’ and ‘nobody’ as nameless heroe who deal with a common destiny imposed on everyone daily lives, configures a philc sophical field that presupposes a universal relationship based on a referential similarit hat gives credibility to the narrative. Indeed, the representation of anonymous crowc 1ims to rescue community bonds considering the global solitude context.
ea ee eee ee le le Oe le ee ee ee ee ae As mentioned in this study, the Pago do Frevo museum can be connected to som strategies previously experimented by Bia Lessa. The designer often works with a gre: 1umber of expographic elements, encouraging visitors’ immersion by integrating a oossible architecture elements: floor, walls, windows and roofs. Lessa’s designs usuall ncorporate artistic and anthropological objects that are not presented as a part of th nuseum collections, but as scenic elements. Furthermore, one of her main affective er sagement strategies is the appreciation of the «{...] ordinary man, common hero» (Ce! eau, 1998, p. 28). The presentation of ‘each one’ and ‘nobody’ as nameless heroe who deal with a common destiny imposed on everyone daily lives, configures a philc sophical field that presupposes a universal relationship based on a referential similarit hat gives credibility to the narrative. Indeed, the representation of anonymous crowc 1ims to rescue community bonds considering the global solitude context.
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Museums and Exhibition DesignMuseum Architecture
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