Nike, Inc.  (NYSE: NKE) is a major publicly traded sportswear and equipment supplier based in the United States. The company is headquartered in the Portland metropolitan area of Oregon, near Beaverton. It is the world’s leading supplier of athletic shoes and apparel[2] and a major manufacturer of sports equipment with revenue in excess of $16 billion USD in 2007. As of 2008, it employed over 30,000 people world-wide. Nike and Precision Castparts are the only Fortune 500 companies headquartered in the state of Oregon.

http://www.himfr.com/buy-clubwear_top/”>clubwear topThe company was founded in 1962 as Blue Ribbon Sports by Bill Bowerman and Philip Knight, and officially became Nike, Inc. in 1978. The company takes its name from Nike (Greek pronounced , the Greek goddess of victory. Nike markets its products under its own brand as well as Nike Golf, Nike Pro, Nike+, Air Jordan, Nike Skateboarding, Team Starter, and subsidiaries including Cole Haan, Hurley International, Umbro and Converse. Nike also owned Bauer Hockey (later renamed Nike Bauer) between 1995 and 2008.[3] In addition to manufacturing sportswear and equipment, the company operates work camps in third world countries that exploit underprivalaged people so the western world can wear the latest sports apparel and has retail stores under the Niketown name. Nike sponsors many high profile athletes and sports teams around the world, with the highly recognized trademarks of “Just do it” and the Swoosh logo.

Nike, originally known as Blue Ribbon Sports, was founded by University of Oregon track athlete Phil Knight and his coach Bill Bowerman in January 1962. The company initially operated as a distributor for Japanese shoe maker Onitsuka Tiger, making most sales at track meets out of Knight’s car.

The company’s profits grew quickly, and in 1966, BRS opened its first retail store, located on Pico Boulevard in Santa Monica, California. By 1971, the relationship between BRS and Onitsuka Tiger was nearing an end. BRS prepared to launch its own line of footwear, which would bear the newly designed Swoosh.[4]

The first shoe to carry this design that was sold to the public was a soccer cleat named “Nike”, which was released in the summer of 1971. In February 1972, BRS introduced its first line of Nike shoes, with the name Nike derived from the Greek goddess of victory. In 1978, BRS, Inc. officially renamed itself to Nike, Inc. Beginning with Ilie Nastase, the first professional athlete to sign with BRS/Nike, the sponsorship of athletes became a key marketing tool for the rapidly growing company.

The company’s first self-designed product was based on Bowerman’s “waffle” design in which the sole of the shoe was inspired by the pattern of a waffle iron.

By 1980, Nike had reached a 50% market share in the United States athletic shoe market, and the company went public in December of that year. Its growth was due largely to ‘word-of-foot’ advertising (to quote a Nike print ad from the late 1970s), rather than television ads. Nike’s first national television commercials ran in October 1982 during the broadcast of the New York Marathon. The ads were created by Portland-based advertising agency Wieden+Kennedy, which had formed several months earlier in April 1982.

Together, Nike and Wieden+Kennedy have created many indelible print and television ads and the agency continues to be Nike’s primary today. It was agency co-founder Dan Wieden who coined the now-famous slogan “Just Do It” for a 1988 Nike ad campaign, which was chosen by Advertising Age as one of the top five ad slogans of the 20th Century, and the campaign has been enshrined in the Smithsonian Institution.

Throughout the 1980s, Nike expanded its product line to include many other sports and regions throughout the world.

Nike produces a wide range of sports equipment. Their first products were track running shoes. They currently also make shoes, jerseys, shorts, baselayers etc. for a wide range of sports including track & field, baseball, ice hockey, tennis, Association football, lacrosse, basketball and cricket. The most recent additions to their line are the Nike 6.0 and Nike SB shoes, designed for skateboarding. Nike has recently introduced cricket shoes, called Air Zoom Yorker, designed to be 30% lighter than their competitors’.[8] In 2008, Nike introduced the Air Jordan XX3, a high performance basketball shoe designed with the environment in mind.

Nike positions its products in such a way as to try to appeal to a “youthful….materialistic crowd”.[9] It is positioned as a premium performance brand. However, it also engineers shoes and apparel for discount stores like Wal-Mart under the Starter brand.

Nike sells an assortment of products, including shoes and apparel for sports activities like association football, basketball, running, combat sports, tennis, American football, athletics, golf and cross training for men, women, and children. Nike also sells shoes for outdoor activities such as tennis, golf, skateboarding, association football, baseball, American football, cycling, volleyball, wrestling, cheerleading, aquatic activities, auto racing and other athletic and recreational uses. Nike is well known and popular in Youth culture, Chav Culture and Hip hop culture as they supply urban fashion clothing. Nike recently teamed up with Apple Inc. to produce the Nike+ product which monitors a runner’s performance via a radio device in the shoe which links to the iPod nano. While the product generates useful statistics, it has been criticized by researchers who were able to identify users’ RFID devices from 60 feet (18 m) away using small, concealable intelligence motes in a wireless sensor network.

In 2004, they launched the SPARQ Training Program/Division. It is currently the premier training program in the U.S.

In the video game Gran Turismo 4 there is a car by Nike called the NikeOne 2022, designed by Phil Frank.

Nike’s world headquarters are surrounded by the city of Beaverton, Oregon but are technically within unincorporated Washington County.

From Nike’s perspective, the company, one of only two Fortune 500 employers still headquartered in the state of Oregon (Precision Castparts is the other), has such a large payroll, that it should not be annexed to Beaverton without its consent. Nike prefers to work with the Washington County Government as it develops and expands its headquarters. Annexation would cost the company $700,000 per year in increased taxes for services it already receives from the county and various special-purpose districts.

From Beaverton’s perspective, the company’s expectation for special treatment is counter to the city’s desire to have zoning and other laws apply equally to all businesses, big and small. A nearby Costco store, one of that company’s earliest, was annexed into Beaverton years ago without incident, and Beaverton’s focus on additional annexation during the 21st century reflects a desire to streamline both city and county government by having metropolitan-area services handled by cities instead of counties.

The Oregonian dates the bad blood between the two back to the Nike purchase of 74 acres  of nearby Beaverton land which soon fronted the Jared Co-operation. When Nike proposed expanding their headquarters in that direction, Beaverton at first wanted them to build housing near the MAX station and criss-cross the property with two public roads, expectations defined by the zoning already in place when Nike bought the land. Beaverton’s request was mostly consistent with Metro’s transit-oriented development plans for the region. After a year, which included a threat by Nike to move 5,000 jobs out of the state, Beaverton backed down from the requirement for housing, but the lack of accommodation was something that Nike did not forget.

The annexation standoff soon led Beaverton to attempt a forcible annexation. That led to a lawsuit by Nike, and lobbying by the company that ultimately ended in Oregon Senate Bill 887 of 2005. Under that bill’s terms, Beaverton is specifically barred from forcibly annexing the land that Nike and Columbia Sportswear occupy in unincorporated Washington County for 35 years, while Electro Scientific Industries and Tektronix get that same protection for 30 years.

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                  As it is reported by Stella Pandell Russell in her work Art in the World, “… [. . .] The essence of creation lies in the recognition of beauty, when it occurs.”(Lippold, Sculpture, 1973). But the treasure of an expressive artistic work (Taylor 51-68) demands responsibility of governors to preserve it. What is the price that societies have been paying for such a long period of time so that the humanity can contemplate the genius spirits of Gaudi and Poty? In this sense, Curitiba has grown so much! Proper use of Architecture and Art! Governors from Curitiba during the last decades are based on the first projects of Jaime Learner, an architect, who promoted a revolution in terms of urban planning, and the city is considered one of the most beautiful towns in Brazil. Lazzarotto is the postcard of important buildings in Curitiba. His murals can be seen in the Government Palace, parks, museums, airport, close to the roads, squares, market, library, and as a façade in front of Guaíra Theater, which has been considered one of the biggest theaters of South America for a long time which main entrance made in concrete is Lazzarotto’s closest work to Gaudi’s. Like the Secret Temple, Guaíra Theater also started with a smaller project. The first theater was called Guairinha (“Diminutive of Guaíra in Portuguese”). Similarly, the other side of Secret Temple was also built in a second moment. The aggregation of Sculptural Arts (Russell 171) to the new buildings is remarkable in both cases, no matter the elements of Gaudi seem to be associated in order to compose the façade (Taylor 151). The elements are sculptural (See Russell 150) set on a special environment, a created space for them (Russell 213).  Poty’s work, is also composed of different objects, designed and harmonized all together. They both have a special language (Russell 40), but as much as one looks to specific characteristics, as closer one can be to a common sense whenever artists manifest their creativity and potentiality, as it can be observed in this comparison. But it isn’t transparent. One has to have the desire to look and compare.

             And Barcelona, located at the Mediterranean Sea in the very north of the Spanish coast, is certainly the most cosmopolitan and economically most active city in Spain. It has always proved its will to be modern, to follow the latest international tendencies or be ahead of them. One can see tradition and innovation side by side (See Russell 372). Considering tourism the architecture of Barcelona reflects the general approach to life. Barcelona has an old history, counting on monuments of Romanesque, Gothic and Renaissance specially those ones created in the last century. “Barcelona has been a center of Modernist architecture, distinguished by the works of Gaudí, and his contemporaries who gave exciting looks to it, but has remained since then at the top of modernity.

            The confrontation of Gaudi and Poty’s façades provides personalization, and aggregation of an extra social value to institutions. Gaudi centers his attention to religious arguments – - (Frontal Façade – Jesus’ birth) 02 – - (See Russell 02), and Poty demonstrates a retrospective of the theater throughout the world in his Façade (See Russell 04).

             “In accordance with Michael Foucault (1973) the intellectual practices can be identified as discourses that will look for a negation of the merely empirical status. These speeches aren’t only linked with the legitimization of power, but also how anyone can reach truth [. . .] ” (Alexander 38-39)

        One can consider each created space is a social fact. As it is defined:   “[. . .] the ways to do something, stable or not, whenever it’s possible, exercise an exterior coercion on the person, or all the way of an extension of a society, having a proper existence, independent of individual manifestations”(Durkheim 12). Both façades enchant anyone, addressing to imaginary spaces.

       Comparing their artistic performances, Secret Family Temple, and Guaíra Theater Façades, no matter the splendor of the church itself, one can have an idea of personalized places. The context in each of them was involved should be observed so that the murals themselves can be understood as the emergence of contemporary social values, represented by their creations, enlightening the cities and enchanting church and theater goers, as well as tourists. “The reconstruction of the reality by the empirical characterization in terms of analysis and unification of the results, is a good way to keep longer the questions of the observer” (Orestan 31) . But the contemplation does not exclude anyone.

            Antonio Gaudi inspired so many writers along these years since his first biographies were printed out, especially between 1829 and 1953.” Authors had Gaudi’s image confusing sometimes. A cultural and political Renaissance took place in Europe and that was the context.

            It was a moment of economical prosperity and urban expansion with patronage of a middle class that wanted to be tune with the best European new styles. As Marx (68) observed about Religious convictions mainly in Europe: “ [. . . ]  the critic of the last society, especially feudal with this one that had to fight against was close to critic that Christianity did about Paganism and Protestantism of Catholicism.

             As Gaudi mentioned: “… something is done so that we can avoid the undone, and work results can be seen only by continuous work combining reflection and action, the precursor requisites of creativity”. He was born in June 25th, 1852 in Tierra Baja, in Tarragona, Spain. His works are still being conserved and his methods of work and investigation are known. He was considered a very intelligent little boy, but always sick. His desire to do something in terms of architecture started with the excursions they had at the time he and his friends started getting involved with speeches of recovering of the architectonic patrimony of their town. Then, he graduates in Architecture in 1878, in Condal where his skills were recognized not only for calculation but also a great creativity. His project was oriented by Violler-le-Duc, Elies Rogent, where he demonstrates great interest in Technology, Materials, Arts, applied to construction, and old styles well known in the past. He had to give proof of his capacity so that Elies Rogent gave him the tittle of Architect affirming that he did it for a fool or a genius. Opportunities to prove his competence were given starting with La Casa Vicens, and finally became accepted by the society of Barcelona. Eusebi Guell (1846-1918) got impressed with the singularity of a wooden crystal iron piece and from that time on, Guell became one of his most important clients. The 80’s represent progress in his career demonstrating his talent working in all forms of Architecture like, residences (Guell Palace), designs like El capricho de Comillas an Pabellón de la Compañia Transatlantica de la Exposición de Cádiz, and religious motifs – - Episcopal Palace of  Astorga, the school of Teresinas and the Temple of Secret Family in Barcelona. He was helped by authorities like Enric d’Ósso, the founder of the school of “Las Teresinas” and the bishops Torras and Bages, the most influent personages of the religious ideologies at the end of the nineteenth century. The general thought of his modernist generation, nominated the Catalan movement that corresponds to Art Nouveau had its format in 1888. But Gaudi could go longer of the historical boundaries dominating the period and formulating his own concept of aesthetic, which made his style becoming unmistakable, and difficult to classify at the same time. He refuses the proposal to take part of the municipal elections in 1905 and dedicates time to execute the façade of Indications, The Secret Family Temple, until his death in 1926. “This façade demonstrates Gaudi’s preoccupation to portray Jesus’ birth, showing all the scenes and personages included in the passage, like the animals, plants, human figures, angels, and the secret family (St. Mary, St. Joseph, and baby Jesus). Gaudi took care even from the position of the entrance by showing the Birth Façade to the Orient because rising sun comes from this direction, and The Façade of Passion to the opposite side because of the sunset. “In 1900, this façade reached 32 meters. There are three doors. The first one on the left represents hope, the central one, Jesus’ birth, and the right one represents faith. Matemala helped Gaudi, in order to have very close reproductions considering animals, human bodies and figures he represented.”04 “The Secret Family is considered a standard gothic inspiration of modern architecture and the greatest project of Gaudi’s life. He portrays an entrance to the temple by presenting one thousand five hundred singers, seven hundred kids, five organs, and this monumental construction seems to be of a theater scenery.” 05

            His relationship with people from the church should intensify his deep religious feelings and intentions. He dedicated a long time to work with Secret Family (1884) and even stopped to accept different projects (1908) working on it until 1926. The church, which remains on remodeling after 115  years since it was started, became a notorious center of visitation in Barcelona. Gaudhi was considered modern but not modernist. He was the son of his time, not because the incorporated modernity like some intellectuals interpreted his work. Gaudi got projection in Catalunia but not with the noise of scandalous passages because of his revolutionary concepts of Art, and there are those critics who could not understand him. Like Clemenceau repported: “Gaudi was an eccentric man, with the personality of a genius, sometimes rude with people who worked with him”. But he is also reported to be generous and honest. His biggest work was Celestial Jerusalem. Josep Carner and Puig Oriol (1884-1970), wrote: (“Si gozáis con el Modernismo/ no os quedéis a medio camino: / alcanzad el paroxismo/ de gozarlo con Gaudí”)05(Which means: One can better understand Modernism with Gaudi).

            If we consider the new tendencies in terms of Arts in Brazil we do have to note that the beginning of the 50’s printed out a new radical changing in all the system of art. In 1922, (Gaudi was close to his end), one of the greatest movements of Art in Brazil took part, and was called the week of Modern Arts. Since that time Modernism was always the first reference in terms of tendencies.06 From Curitiba, Paraná, Brazil, Poty was contemporary to all these events. But his work is still very regional and far away from all these tendencies. Gaudi and Poty could be themselves even competing with other artists from their time, and exposed to so many cultural influences.

            As Regina Casillo comments: “All the cities have their own values, like Guignard is to Minas Gerais, Di Cavalcanti to Rio de Janeiro, and Curitiba was given the present by the Gods to have Napoleon Potyguara Lazzarotto as its main value (trans.).”06 Poty was born in Curitiba, in March 29th, 1924, providing a cue of his destiny. It is the date, of Curitiba’s birthday, as the ex-prefect Rafael Greca de Macedo replied: “The city he would never get stressed to portray on his paintings.” Poty’s work is basically centered in murals wherever visitors or not, go in the capital of Paraná, São Paulo or Rio.

           His noticed talent designated Lazzarotto’s life since he was fourteen. He created a personage called Haroldo, and then, became famous because of his figures. His work is known throughout the world, especially in Rio de Janeiro where one of his murals was destroyed by the fire in 1964. In Sao Paulo he created the mural called Latin America Memorial. But it is in Paraná that his work is more representative.08 He attended the College of Arts in Curitiba. The murals are great, and remarks of his work are never confounded. His favorite materials are cement, glazed tiles, stained glass windows, and wood, and as it was already said in big murals like the one in “Largo da Ordem” representing the chariots of the grocers, basically Italian and Polish colonial people close to Largo da Ordem in Curitiba. Another wonderful work is the mural at 19 de Dezembro Square in celebration to the Centenary of Paraná. At Iguaçu Palace, one can see the mural Allegory of Paraná, which is the façade of Iguaçu Palace when it was inaugurated in 1953 (same technique of the Theater). The main work to be analyzed in front of Guaíra Theater that Poty’s façade is located. It portrays The Theater in the World (1969). “Before dying in 1998, Poty could see an exhibition organized by CEF; one of the strongest

banks in Brazil with designs, outlines, and miniatures that could be seen all together for the first time, as Mrs. Casillo explains.”09 Differently of Gaudi who left Secret Temple unfinished.

            The preliminary point to be considered should be the fact that the first theater started to be built (1855) in Curitiba at the same time Gaudi was walking first steps (1852). But the first inaugurated one (1884) is now the building of the Public Library in Curitiba. Guaíra Theater was a prison originally, during the Federalist Revolution and only in 1900 it was reopened with the name Guayra. It was demolished. In 1952 it was rebuilt because of public request under the command of Rubens Meister (architect). The first stage was Salvador de Ferrante (1954) and the big one was built 16 years later. A fire destroyed the theater in 1970, and in 1975 it was finally concluded, becoming one of the greatest artistic-cultural-complexes of Latin America. Only after all these reforms, Poty Lazzarotto, the artist who signed the frontal façade and had already worked on the designs was contracted (He did not execute his work). He also projected the fire-curtain of the stage Bento Munhoz da Rocha Neto. He created the fire-curtain of the biggest theater known as Salvador de Ferrante Auditorium, both executed by Laila Tarran, and Carmen Carine. As Laila explained, Poty followed the execution of his works like the Façade of the theater, and even added things out of the project to the curtains. Gaudi didn’t, because of the accident that robbed his life.

            The Façade of Guaíra Theater( 24,50 x 4.80) provides a wonderful view of the evolution of the theater throughout the world. Different tonalities of gray and white are observed (the moulds produced by Poty, were made of wood, providing a different tonality), as well as different levels of a plan structure of cement, divided in several rectangles, set in so many different planes (Some of them are negative). Contrary to the panel performed with the same technique (on the walls of Iguaçu Palace), one can observe that lines are different and variable. In Guaira mural, Poty uses band lines much more than straight lines, as it can be observed in the mural of Iguaçu Palace (Taylor 55). Poty is the son of European Immigrants, and he had the preoccupation to show people from the field and from the North of Brazil, known as caipiras, and cangaçeiros. The existence of communities with different costumes can be observed as one of his arguments. “There are some communities that live in a total segregated society. They live in a diaspora, relationship, except the inevitable and the legal situation is normally precarious [.  .  . ] ” (Weber 221). It was a very common characteristic of Brazil, considering problems of ethnicity, even nowadays.

            A marvelous scenery of a retrospective of the evolution of the theater along the time and throughout the world can be observed if one centers the eyes from the left to the right, in order to readwhat Poty wants to transmit. He starts with the presentation of a pine (symbol of the South of Brazil – - Araucaria angustifolia – -), and an old citizen contrasting with a young girl, the fire, and a mask. Then, a second moment, showing a pathway, directing to a town. Right after, a big eye, some architectonic lines and the figure of a couple of cangaçeiros – - a typical personage from the North of Brazil . Poty also sets a group of dancers, involved in abstract representations, and an angel can be seen very close to signs. He puts two ladies side by side. One is overdressed with a long dress and holds a fan. The second one is very modern and carries a purse. The last moment centered on the right portrays a globe, being carried by a chariot. Many instruments can also be seen like a harp, a violin, and a trumpet. Finally, a man wearing a hat can be noticed on the back. The total image of the façade remains inside the boards.

          If for any reason, Poty’s work came to print mainly historical values concerned about regional cultural aspects, as he always does, that was not Gaudi’s preoccupation, because the Secret Family is a religious universal symbol. But “Poty is also referred as portraying universal values, no matter it had regional focus.”10 So, both can be considered similar in terms of this reference.

         Gaudi should be much more helpful for the humanity if he had worked only with his designs and projects, reserving builders the responsibility to incorporate values to the buildings. But this is utopia. It sounds that he had to be everything. Nowadays, with the division of the work, consolidated mainly with the contemporary vision of the world, it sounds that people know exactly how short life is to reserve so many realizations for only one man (Gaudi’s death is related with stress). Poty works with different plans and Gaudi with volume (His figures are represented in natural side). It is very interesting to notice that Gaudi represents animals, much more realistic than human figures.

         Gaudi is being considered a Saint. He could project not only a complement (façade) as part of the building. Gaudi was one century in front of his time, and besides Picasso, Miró and many ones, he could make of Barcelona the number one city in terms of style, aesthetics, innovation, attracting people from several different nationalities to contemplate his extraordinary production of works, influencing even Portinari one of the most Brazilian famous artists. And Curitiba has an atmosphere of a special “elsewhere” inviting people to fulfill the emptiness of the architectonic creations metaphorically using Poty’s works as an invitation to attract visitors. With a modern vision Poty incorporates historical evidences wherever it is possible to modern buildings, which seems to be the opposite in Gaudi’s work, because he demonstrates the modern creations incorporating biblical references mainly to a gothic building (Secret Family Temple), proper of medieval architecture, maybe because of his extreme religiosity. But it is not a general topic of his creations. His work is as energetic as Poty’s.

            In conclusion, it can be inferred from this approach that the submerged industrial society takes with it all the principles mainly in the two last centuries. Modern architecture is coming down because the moral legitimization of its aesthetics and philosophical reasons don’t exist any more. However, [. . . ] “ Modernity as Baudelaire wrote in his article The painter of modern life printed in 1863, is the transitory, the escapable, the contingent, it is half of the art, being the other half the eternal and immutable” (Harvey 21).

            People can have interfaces of different interpretations of urban life and open a space to every new conception of art itself. As Laila Tarran mentioned in an interview: “There is no innocent look”. And there is a code of spaces in all the cities nowadays. Space for leisure, residential areas, business area, marketing, parks, shopping centers, churches, hospitals, and so on. Do works of Arts add anything to these spaces, or do they diminish the functionality of that certain space? It is not uncommon to listen people saying: “But this Poty’s mural was a fortune for the government … “Or, “Gaudi should have spent all the money of the families in a very difficult time (War)…”. As Mirabeau says: [. . . ] civilization does not do any good for the society if it’s not the form and substance of virtue ( Elias 54). 

            Like Barcelona, Curitiba got the right concept of property on setting the arts printing out a unique language in terms of style. “Artists reported the past looking to the future” (Taylor177).

                        As Stella Pandell Russell reports “… Everyone can share in the impulse to create, although we are not all creative to the same degree” [. . . ] (Russell 21). And this is wonderful, because each human has a different conception and interpretation of reality. The fact that both artists have printed personality to these places must be considered not only as a manifestation of human extraordinary potentiality to create but also the necessity to have an encounter with beauty, and abstract its relative concept, by casually passing in front of public edification that immortalize the life of each town and the personality of the artists.

            However Gaudi and Poty had proper style, and very specific focus in terms of thematic performance, it cannot be ignored by the eyes of the planers of Curitiba, who could abstract from traditional towns in Europe, some very notorious concepts of urban concurrent planning accidentally and suitable introduced them in the town. As much as one sees, as much one can look! It’s up to anyone

  Works Cited

Alexander,  Jeffrey C. A importância dos clássicos. In: Giddens, A.,Turner, J. (Orgs.)

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Boudieu, Pierre. A gênese dos conceitos de habitus e de campo In: O poder simbólico. Rio de 

       Janeiro: Editora DIFEL – Bertrand Brasil, 1989. p. 59-73.

Durkheim, Emile. As regras do método sociológico. 4 ed. São Paulo : Companhia Editora

      Nacional, 1966, cap. I e II, p. 1-24.

Elias,  Norbert. O Processo Civilizador Rio: Uma História dos Costumes. Rio de Janeiro: Jorge Zahar

      Editores, 1990, vol.1, cap.1 e 2.

Fernandes, Florestan. Fundamentos empíricos da explicação sociológica. São Paulo: Companhia

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Gibaldi, Joseph. MLA Handbook for Writers of Research Papers, New York. Modern Language

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Harvey, David; A Condição Pós-moderna. São Paulo: Loyola, 1963, cap. 1 e 2.

 Marx, Condições Históricas da Reprodução Social In: IANNI, Octávio, (Org). MARX. Col.        Grandes Cientistas Sociais. São Paulo: Ática, v.10, p.62-81.

Phaidon. The 20th Century Art Book, Phaidon Press Limited, 1996 London, England, 1996.

Russel, Stella Pandell. Art in the World. Second Edition. Holt, Rinehart& Winston, 1984.

Taylor , Joshua C.  Learning to Look. Second Edition. University of Chicago Press, 1981.

Weber,  Max. Classe, Estamento e Partido. In: Ensaios de Sociologia. 4 ed. Rio de Janeiro:

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MSN. Gaudi – France. January 19th, 2003.http://www.ifrance.com/gaudi/

MSN. Antoni Gaudi artist. January 19th, 2003. http://www.netreach.net/~trishy/travels/gaudi.html

MSN. La sagrada familia. January 19th, 2003. http://www.xtrovertmedia.se/gaudi/

MSN. American Hotel. January 19th, 2003.   http://www.op.net/~jmeltzer/Gaudi/hotel.html

MSN. Antoni Gaudi – website. January 19th, 2003.http://www.starpagina.nl/

MSN. Antoni Gaudi y Cornet.  January 19th, 2003.http://www.cbrava.com/gaudi.de.htm

MSN. Antoni Gaudi – Arquitect. January 19th, 2003. http://inicia.es/de/nuestros/gaudi.htm

MSN. Antoni Gaudi. January 19th, 2003. http://www.kcnet.com/~marc/gaudi.html

MSN. Antoni Gaudi. January 19th, 2003.

http://ourworld.compuserve.com/homepages/wuerschinger/Gaudi/DEU/Biographie_01.html

MSN. About Gaudi. January 19th, 2003. http://www.op.net/~jmeltzer/Gaudi/about.html

MSN. Ciutat Gaudi. January 19th, 2003.http://www.geocities.com/SoHo/7745/

MSN. Das Barcelona. January 19th, 2003. http://www.red2000.com/spain/barcelon/2gaudi.html

MSN. Colonia Guell. January 19th, 2003. http://www.op.net/~jmeltzer/Gaudi/colonias.html

MSN. Caixa Catalunya. January 19th, 2003.

http://www.caixacatalunya.es/CDA/caixacat/redirect.html?link=http://www.caixacatalunya.es/caixacat/cat/ccpublic/empreses/productes/fct/facto.htmfund_eng.html

MSN. Beatificação de Gaudi . January 19th, 2003.

http://www.estado.estadao.com.br/editorias/2002/06/25/cad025.html

MSN. E-foco. Viagens Portugal e Espanha. January 19th, 2003.  

http://www.sppress.net/E-Foco/E-Foco – Viagens – Portugal e Espanha03.htm

MSN. Folha Online. January 19th, 2003.

http://www1.folha.uol.com.br/folha/bbc/ult272u10079.shtml

MSN. Gau. January 19th, 2003. http://sites.uol.com.br/r2riccio/gau.htm

MSN. Gaudi&Barcelona. January 19th, 2003. http://www.gaudiclub.com/index.asp

MSN. Gaudi designer. January 19th, 2003.

http://www.etalors.com/gaudidesigner/anglais/accE/elements/accE.html

MSN. Gaudi curs. January 19th, 2003. http://orbita.starmedia.com/~froi5/gaudi.html

MSN. Gaudi Antoni. January 19th, 2003.

http://www.cyberspain.com/passion/gaudi.htm

MSN. Nouveau. January 19th, 2003. http://www.terravista.pt/mussulo/1193/nouveau.htm

MSN. Diversão. January 19th, 2003. http://www.uol.com.br/diversao/reuters/ult26u9247.shl

MSN. Super online. January 19th, 2003. http://www.uol.com.br/diversao/reuters/ult26u9247.shl

MSN. Exclusão de Gaudi. January 19th, 2003.

http://www.terravista.pt/mussulo/1193/NOUVEAU1.htm

MSN. façade – Sagrada Família. January 19th, 2003.

http://www.sppress.net/E-Foco/E-Foco – Viagens Portugal Espanha/MicPE_216.jpg

MSN. Guardian. January 19th, 2003.

http://www.guardian.co.uk/netnotes/article/0,6729,743807,00.html

MSN. Antoni Gaudi – photo tour . January 19th, 2003.

http://www.red2000.com/spain/barcelon/phgau.html

MSN. Antoni Gaudi – façades. January 19th, 2003.

http://www.internet-photo.com/Countries/Spain/Barcelona/Barcelona-Collection2.html

MSN. Sagrada Família – fachada. January 19th, 2003.

http://www.sppress.net/E-Foco/E-Foco – Viagens Portugal Espanha/MicPE_172.jpg

MSN. A magia de Barcelona. January 19th, 2003. http://www.wcams.com.br/cronica_lilian_18.htm

http://www.ctv.es/USERS/ags/GAUDI-sf-nac.htm

MSN. Home page – Gaudi. January 19th, 2003. http://www.geocities.com/SoHo/Lofts/9477/gaudi.htm

MSN. Next and last thoughts – Gaudi. January 19th, 2003. http://www.kcnet.com/~marc/gaudi.html

MSN. Gaudi. January 19th, 2003.

http://www.klickeducacao.com.br/Conteudo/Referencia/CDA/Item_View/1,1655,456-biografia-9,00.html

MSN. Gaudi Club. January 19th, 2003.   http://www.gaudiclub.com/index.asp

http://www.op.net/~jmeltzer/Gaudi/works.html

MSN. La sagrada famiglia. January 19th, 2003.

http://www.raingod.com/angus/Gallery/Photos/Europe/Spain/Barcelona.html

MSN. Mad about Gaudi. January 19th, 2003. http://www.telebooks.com/

MSN. Gaudi. January 19th, 2003. http://perso.magic.fr/cjupin/gaudi.htm

MSN. Gaudi Central. January 19th, 2003. http://www.op.net/~jmeltzer/gaudi.html

MSN. Gaudi. January 19th, 2003. http://www.em.ufop.br/op/aleij.htm

MSN. Fabricamus oggi. January 25, 2003.

http://www.fabricamus.com/servizi/oggiparliamodi/apropositodi.htm

MSN. Expiadourabili. January 19th, 2003.   http://www.em.ufop.br/op/aleij.htm

MSN. Poty Lazzarotto.  January 17, 2003.

http://www.webhotel.com.br/parana/turismo/tc_curiatra.htm

MSN. Poty Lazzarotto.  January 17, 2003.

http://www.celepar.br/celepar/setr/aeroportos/fotosap.html

MSN. Poty Lazzarotto.  January 17, 2003 http://www.celepar.br/celepar/setr/aeroportos/fotosap.html

MSN. Poty Lazzarotto.  January 17, 2003 http://www.londrina.pr.gov.br/museudearte/obras1.php3?Codigo=obra30&Titulo=Auto

MSN. Poty Lazzarotto.  January 17, 2003. www.bonde.com.br/marciaohde/poty-detalhe.htm

MSN. Poty Lazzarotto.  January 17, 2003. www.bonde.com.br/marciaohde/poty.htm

MSN. Poty Lazzarotto.  January 17, 2003. www4.sul.com.br/sa/poty1.htm

MSN. Poty Lazzarotto.  January 17, 2003. www.lancaster-hoteis.com/ingles/planta2.htm

MSN. Poty Lazzarotto.  January 17, 2003. www.celepar.br/celepar/setr/aeroportos/fotosap.html

MSN. Poty Lazzarotto.  January 17, 2003. www.contracampo.he.com.br/25/avisitadovelhosenhor.htm

MSN. Poty Lazzarotto.  January 17, 2003. www.celepar.br/curitiba/ctba44.html

MSN. English and American Studies.  January 25, 2003. http://www.art.man.ac.uk/ENGLISH/staff/te/home.htm

MSN. Learning to Look.    January 25, 2003.http://ifets.ieee.org/periodical/vol_1_2002/rountree.html

MSN. Art of the World.  January 25, 2003. http://www.art-for-the-world.com/

MSN. From Abacus to Zeus. January 25, 2003. http://www.papiermache.co.uk/exec/cms-books/p-view/isbn-0130197289

MSN. Learning to Look. January 25, 2003. http://www.erasmus-foundation.org/old_site/REIN12.HTM

MSN. Assignments ideas. January 25, 2003

http://www.bedfordstmartins.com/barnetbedau/content/instructor/content/xxx_menu.htm

Última atualização do currículo em 30/07/2009
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The New York International Auto Show is already ongoing and since the minute that the doors opened to the public, the venue has been filled with auto journalists, experts, car fans, and just anybody who was interested in looking at what the auto world has to offer this time. Auto makers had also made sure that everything which they would be setting on display would be in top form so much so that they could earn the trust and the attention of consumers who are in the market looking for a vehicle to purchase.

BMW is one of the car makers who have constantly been joining the New York International Auto Show. This brand has been bringing with it some of its topnotch vehicles and has been setting on display the best and the coolest that they have ever created. Two of the vehicles that BMW has brought with it to the NYIAS are the 2008 M3 convertible and the Concept CS unit. Both vehicles are described to be elegant by the auto maker. BMW also said that the two vehicles also come with the best type of driving performance one would ever experience in a vehicle.

Tom Purves is the chairperson and the CEO for the North American arm of BMW and on the BMW M3 he mentioned, “It’s a balance between something that’s really, really sporty, but also something you can take your kids to school in.” While on all BMW products that the company has created, he described, “I hope you’ll agree that you can expect a lot from BMW, except a boring product.” Now that is something that most people can agree with for even BMW wheels do have their own distinct character.

The BMW M3 convertible would be available in the United States auto market sometime this spring and it would be entering the market with a coupe version and a sedan version beside it. For the convertible, one can expect to see a V8 engine that can produce 414 horsepower. This engine is mated to a seven speed double clutch transmission system. As a whole, a unit of the BMW M3 convertible can be bought for $65,725.

As per the BMW Concept CS, this vehicle comes with four doors and is described to be one vehicle that comes with utmost luxury. Experts who have witnessed the concept vehicle have mentioned that this vehicle has the power and the performance that the Gran Turismo has.

Anthony Fontanelle is a 35-year-old automotive buff who grew up in the Windy City. He does freelance work for an automotive magazine when he is not busy customizing cars in his shop.

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