Dissertations / Theses on the topic '20th century heritage'

Through a combination of stringent and deceptive corporate control of sources, as well as an academic blind spot on certain low-brow subcultures, there has been a lack of serious study of the various regional professional wrestling traditions that crossed the United States until the end of the 1980s. An in-depth examination of a wide range of books, newsletters, and interviews shows a rich history with a deep economic, social, and creative diversity that has been largely ignored as the industry has moved towards monopolization under Vincent Kennedy McMahon. The various regions are divided into three groups: those that closed on their own, those that fell in competition with McMahon, and those that survived into the era of national corporate pro wrestling. This organization challenges the narrative that regional pro wrestling came to an end solely due to the business power of McMahon. The first group looks at Northern California, Southern California, Georgia, and North Texas. The second group examines the independent wrestling companies Mid-South Wrestling and the American Wrestling Association, and their attempts to compete with McMahon on a national level. The group also explores how the intense local fan bases in Portland and Memphis buoyed the local pro wrestling promotions for a time from outside competition from McMahon. The third group contains Jim Crockett Productions and the World Wide Wrestling Federation. These two organizations eventually became the two major corporate wrestling entities World Championship Wrestling and the World Wrestling Federation, respectively. A glossary of terms is included.

This thesis analyses the roles played by international, national, regional and local organisations and discourses in the heritage valorisation and conservation of modernist architecture – a process that has so far spanned some three decades. A leading role in this narrative has been played by international conservation organisations, which have acted as a unifying front for conservation advocacy and defined a conservation ideology that integrates the principles of both the modern movement and the conservation movement. Partly, this international emphasis has stemmed from the characteristics of the 20th century Modern Movement itself, including its strong strain of cosmopolitanism, as well as its still controversial reputation today at a local level. This initially gave the proselytising of modernist conservation a somewhat elite, trans-national character, exemplified by pioneering organisations such as DOCOMOMO. Yet the ‘internationalism’ of modernist conservation is only part of the story – for to establish this innovative new strand of heritage on a more entrenched basis, the familiar, more locally specific organisations and discourses that had supported previous phases of conservation growth were also increasingly applied to ‘MoMo’ heritage. This ‘on the ground’ involvement represented a convergence with more ‘traditional’ conservation practices, both in advocacy and campaigning, and in the research-led documentation required to document buildings’ significance and continued fitness for purpose. These geographically-specific forces operate at both a national level and also a regional or even local scale, as the thesis illustrates by the two national case studies of Great Britain and the United States of America. Although both countries shared numerous cultural similarities, especially the 19th century veneration of private property, the far more emphatic 20th century turn towards state interventionism in Britain led to a strong divergence regarding modernist heritage, both in the overall character of the modernist architecture built in the two countries (far more ‘capitalistic’ in the US) and in the approach to heritage conservation (more state-dominated in GB). In Great Britain, following on from the comprehensive post-WWII government ‘listing’ programme, the statutory heritage bodies – ‘regionally’ differentiated between England and Scotland - have maintained their leading role in the conservation of modern movement heritage through initiatives to identify buildings of significance, and powerful city planning authorities have provided co-ordinated enforcement. In the US, on the other hand, heritage protection has stayed faithful to its philanthropic roots and the onus of modern movement conservation is left to voluntary advocacy groups who then must campaign to have buildings protected piecemeal by local city or state preservation bodies.

The focus of this case study is the renewal of Vällingby Centre which took place between 2004 and 2008. With its scale, ambition and content, Vällingby represented something completely new in Swedish urban development when the town district came into being in the early 1950s. The community centre also had an important role to play, it not only had a commercial function it also had a social and cultural function. Despite the fact that community centres appeared in great numbers, few of them remain as they once were. Many have undergone major changes including alterations and, quite often rather careless intervention, both with regard to their interior and exterior. New shop types, consumption patterns and increasingly fierce competition are just some of the factors that have led to the original values contained within this area being on the verge of disappearing. The entire town of Vällingby was nominated in 1987 by the National Heritage Board as a clear and well preserved example of an ABC city with regard to it structure and the planning ideals of the 1950s. An expression of such conservation ambitions signifies, however, a potential conflict situation with other interested parties and areas of interest, not least when it comes to buildings and environments that are for commercial use. The main purpose of this study is to deal with the renewal of Vällingby centre from a cultural heritage perspective. The first chapter will provide a background as to why Vällingby came about and present a picture of post-war town planning and the emergence of Vällingby Centre; while the second chapter will examine the decision-making process behind the renewal, where Välingby's town centre regeneration offers an interesting example of how areas which are classed as being of national interest are dealt with during the planning process. Vällingby Centre is an example of one of our modern national interests and of the maintenance and conservation problems post-war developments are associated with. The central parts of the town are also associated with a largely unexplored field of study, despite the increased diversity conservation intentions have received over the past few decades.
QC 20120502

This paper considers the appropriation of Indigenous heritage in northwest Georgia during the mid-20th century. Through this case study of the first state-funded historic preservation project in the state at Etowah Indian Mounds, I apply a recent theorizing on the nature of whiteness, settler colonialism, and the role of heritage in cementing racialized structures of colonial rule. I outline the long history of Indigenous dispossession and settler appropriation in the American South to show how the origins of Indigenous heritage tourism built on an established settler colonial apparatus that deployed race to service commercial and economic development schemes. in this vein, my study highlights state-funded infrastructural development, newspaper reports, commercial interests, and community practice as key nodes in an integrated system facilitating appropriation and solidifying white control over space and place. to tackle this complex interdependence, I formulate a conception of heritage practice drawn from Hargrove's (2009) model of whiteness as habituated cultural practice, and tie this discussion into heritage studies emphasizing the transformation of historic landscapes into white public space. I then contextualize heritage building at Etowah within an evolving tourism economy and New South ideology that positioned white supremacy in relation to modernity, and demonstrate how GHC practitioners utilized archaeology and architecture to reinforce this ideological framework at Etowah Mounds. Tracking trends in the press coverage of ongoing preservation activities at Etowah Mounds, my study charts the gradual production of heritage values tied not to commercial interests but to the site's perceived historical and archaeological significance as Georgia's flagship preservation project. I argue that the repositioning of this site as national patrimony served to legitimate the appropriation and continued possession of Indigenous land, resources, and material culture by establishing ancestral connections between white communities and the region's pre-contact inhabitants.

This thesis identifies the causes and the process of the change of the historic city center of Samsun since the beginning of the 20th century by the role of the development and conservation activities. Because of rapid urban growth and the lack of conservation principles in city plans, most of the city centers have been subjected to growth-conservation contradiction. As a result of this, the historic city centers lose their unique characteristics and cultural heritage while they change rapidly. The city of Samsun became an important trade and transport center since the middle of the 19th century and significantly improved in economic, physical and cultural aspects. As the tobacco production has developed, tobacco factory has been founded and the port of Samsun has become the most important port of the Black Sea by the middle of the 19th century, the Non-Muslim traders began to settle in Samsun. Hence, Samsun became an important center of the Black Sea region with its commercial activities and multicultural social structure. However, after the middle of the 20th century, as a result of the rapid urban growth, Samsun started to lose its unique urban tissue and cultural heritage increasingly. Today the urban fabric of the city does not reflect its historical importance. The remaining cultural heritage of the city belonging to early 20th century is not legible within today´
s urban tissue. By identifying the change in urban tissue, the thesis aims to present the current situation of the cultural properties within today´
s urban fabric and prepare a basis for conservation.

Recent research on multiple modernities and hybridity has brought under fruitful criticism earlier Eurocentric accounts that constructed non-Western countries as passive receivers of European modernism. It has revealed the complexity of interactions across geographies and brought into focus processes of cross-pollination and interpretation, and the dimension of power and agency. However the majority of studies examine the relationship between a ‘Western’ and a ‘non-Western’ context, hence missing issues of influence and antagonism among the neighbouring ‘peripheral’ actors themselves. Building on this stream of scholarship and in response to this vacuum, my research examines the multi-directional flow of ideas and people between Western Europe, Turkey and Greece in the early 20th century, within the framework of modernisation and nation-building. Through this ‘triangulation’, it aims to contribute to the critique of constructed categories such as East-West bipolarities, to uncover unexplored interactions, and to address the complexity of drawing geographical and temporal borders. The window through which this exploration takes place is the transition of two cities, Thessaloniki and Izmir, from the Ottoman context to two separate nation-states. Having lost their minority communities and having been devastated by fire in 1917 and 1922 respectively, they were redesigned by French and English architects. Drawing from reader theory and critical studies on nation-building and modernisation, and based on extensive archival research in Greece, Turkey and France, I explore the urbanist and architectural activity in these two cities during a period when identities were debated and (trans)formed as the Ottoman Empire was dissolved. The relevance of this research lies in its offering a new approach to the modern architectural history of Izmir and Thessaloniki, with wider implications in terms of historical analysis, in its uncovering of unvoiced aspects of the region’s encounters with its past and with the deemed West, and in its contribution to a critical re-reading of our past and present today.

Carrefours où convergent les flux maritimes et terrestres ; lieux où s’échange, se distribue et parfois se transforme. Au fil des siècles, les ports ont subi des modifications et des extensions qui ont réinterprété ou étendu leur rôle de lien entre la terre et la mer. Au lendemain du XXe siècle, le développement des technologies navales et les progrès de la navigation ont conduit à une plus grande capacité de chargement et à une vitesse plus élevée des navires, tandis que dans le même temps, la localisation des industries devenait un sujet fondamental de la géographie économique. Le port a ainsi assumé de nouvelles fonctions complexes et de grandes installations industrielles ont été implantées sur ses quais. Porto Marghera et Fos-sur-Mer sont deux exemples de ports industriels en Méditerranée. Ils ont été créés respectivement au début et à la fin de la période de cette recherche. L’enquête concerne l’évolution du complexe portuaire du point de vue technique et de l’infrastructure et l’impact que cela a eu sur la relation ville-port. Dans les deux cas, nous observons un processus de territorialisation du complexe portuaire et, en même temps, une dissociation progressive du centre urbain d’origine. La réflexion qui en résulte concerne la valeur testimoniale de ces énormes organismes, protagonistes de l’histoire contemporaine de la Méditerranée – et plus particulièrement de Venise et de Marseille au XXe siècle; ABSTRACT: Two industrial ports of the Mediterranean in the 20th century: Porto Marghera and Fos-sur-Mer 1917-1968 - Hubs where maritime and land flows converge; where exchange, distribution and sometimes transformation take place. Over the centuries, ports have undergone modifications and extensions that have reinterpreted or extended their role as a link between land and sea. In the aftermath of the 20th century, the development of naval technologies and the progress of navigation led to a greater loading capacity and higher speed of ships, while at the same time the location of industries became a fundamental subject of economic geography. The port thus took on new complex functions and large industrial plants were established on its quays. Porto Marghera and Fos-sur-Mer are two examples of industrial ports in the Mediterranean. They were established at the beginning and at the end of the research period respectively. The investigation concerns the evolution of the port complex from a technical and infrastructural point of view and the impact this had on the city-port relationship. In both cases, we observe a process of territorialization of the port complex and, at the same time, a progressive dissociation from the original urban centre. The resulting reflection concerns the testimonial value of these enormous organisms, protagonists in contemporary history of the Mediterranean – and especially in the history of Venice and Marseille in the 20th century. Mots clès : Histoire des techniques, Patrimoine industriel, Ports industriels, Méditerranée, Villes portuaires, XXe siècle Keywords: History of techniques, Industrial heritage, Industrial ports, Mediterranean, Port cities, 20th Century.

This thesis explores the contribution to the cultural life of post-war Australia by migrant artists from north-eastern Europe. It researches the lives and work not only of displaced artists arriving in the mass exodus from Europe after the Second World War, but also second and third generation artists descended from original migrant families, and much later émigré artists. Art histories written to date about the post-war period provide little coverage of the contributionto the art and culture of Australia by migrant artists from north-eastern Europe. The coverage in the literature written about the visual art produced by established Australian artists is far greater than that given to the migrant artists also exhibiting at the same time. Insofar as the ‘gap’ in the literature is concerned, this research reveals a number of factors which appear to have influenced the non-recognition of migrant art—such as, poor reception of abstract art in Australia post-war and the protection of established Australian artists. The impact of European abstract expressionism that migrants introduced in the 1950s had a lasting effect on Australian modern art, together with the innovation of their contemporary sculpture, which changed the urban landscape of Australian cities. This research questions the possible long term repercussions emanating from colonial Anglocentric Australian government policies, which in turn leads to questions about the importance and location of cultural heritage, sense of identity, third space and cultural hybridity. With a focus on migrant artists from north-eastern Europe—the Baltic States and Poland—the research investigates how second and third generation artists locate their visual art in relation to their cultural environment and how they navigate between their cultural heritage and the cultural mosaic of an Australian context. The impact of war on artists from migrant families through the subjugated experience of those families is also addressed to ascertain any effect on the visual art currently being produced. Interviews were conducted with ten artists of north-east European ancestry, using an ethnographic qualitative research methodology incorporating in-depth interviews together with close analysis of artwork during interview or subsequent contact in the artists’ studios and at exhibitions of their work. Research revealed that, regarding a sense of belonging and identity, nine of the ten artists still retain a perception of living between cultures, which appears congruous with the importance of the retention of language and ‘home’ culture. Making art appears to strengthen their sense of living between cultures, and their creative praxis combines experiences passed down through the generations fused into their own Australian life-world, modified and shaped within a third space of meaning. The thesis argues that second and third generation Australian artists, whilst engaging with contemporary issues, make reference to cultural traditions interspersed with comment on contemporary conditions, resulting in a syncretic articulation which forms a third space of cultural transformation and unity. The investigation into the impact of war, particularly World War II, revealed that only five participating artists directly manifest war themes in their visual art. However, the repercussions of that war and the Cold War, which lasted for many years after the Second World War, appear to have been subconsciously imprinted on the artwork of all three categories of artist, i.e. second and third generation and émigré artists. The cultural aesthetics migrants introduced has had a long-lasting effect on Australian tastes generally and on art education in particular. This research underlines the particular contribution of migrant artists from north-east Europe, revealing the aesthetic value such cultural integration has produced. This research seeks to initiate dialogue and a growing understanding of the rich and complex history of art and culture which migration has stimulated in Australia since the 1950s.

Esta dissertação pretende contribuir para um melhor conhecimento da complexidade das redes de transferência de conhecimentos e técnicas, no domínio da engenharia civil e mais concretamente através dos caminhos-de-ferro, nos séculos XIX e XX. Em Portugal, os caminhos-de-ferro estiveram no cerne de um vasto debate, sobretudo político, concomitante com uma instabilidade crescente no cenário político e uma fase de fragilidade económica. É neste contexto que a Linha do Sul e Sueste vai ser construída (seguida pela sua extensão até Vila Real de Santo António e pela construção do ramal de Portimão, que chegará a Lagos). Este empreendimento é uma clara ilustração da realidade portuguesa de então, no que concerne ao desenvolvimento desta rede de transportes, que nos permite, igualmente, conhecer e compreender quem interveio no processo de construção da linha (os engenheiros, as empresas, entre outros aspectos) e assim determinar quais as influências e transferências técnicas que tiveram lugar; RESUMEE: Cette mémoire attire à la contribution pour une meilleure connaissance de la complexité des réseaux de transfert de techniques et connaissances qui ont eu lieu dans le domaine de l’ingénierie civile, surtout dans les chemins de fer, au XIXème et XXème siècles. Au Portugal, les chemins de fer sont été le cerne d’un très vaste débat, coïncidant avec une croissante instabilité dans le scenario politique et aussi une phase économique fragile. C’est dans ce contexte que la Ligne du Sud et Sud-est va être bâti (suivi par l’extension jusqu’à Vila Real de Santo António et la construction de l’embranchement ferroviaire Portimão). Cette entreprise c’est une illustration claire de la réalité portugaise, en concernant l’implémentation de cette réseau de transport, que nous permettre de comprendre et également bien connaitre qui a intervenu dans le processus de construction de la ligne (les ingénieurs, entreprises, etcetera), ainsi que déterminer les influences et les transferts techniques qui ont eu lieu; ABSTRACT: With this master’s thesis, the aim is to be able to contribute to a better understanding of the complex network of technique’s and knowledge transfers, that took place within the field of civil engineering, in the 19th and 20th centuries, namely on the railways. In Portugal, railways take-up was a wide and ample debate, coinciding with an uprising turmoil on the Portuguese political outskirt and a phase of economic frailty. It’s in this context that the construction of the South and Southeast Line took place (followed, later on, by its extension until Vila Real de Santo António and by the construction of the Portimão’s branch). This enterprise is, as we pretend to prove in this master’s thesis, a clear example of the Portuguese reality, enabling us to understand and to get to know those who intervened in the construction’s process (the engineers and the companies) as well as determining influences and technique transfers that have taken place.

Gegenstand der Habilitationsschrift sind die wesentlichen Strömungen der städtebaulichen Entwicklung Dresdens in der zweiten Hälfte des 20. Jahrhunderts. Der Zeitraum umfasst Planungen und Realisierungen zwischen der Zerstörung Dresdens am 13./14. Februar 1945 und der Vereinigung mit der Bundesrepublik Deutschland am 3. Oktober 1990. Wichtige Etappen bilden dabei die Konzeptionssuche nach der Zerstörung, der Städtebau der „nationalen Tradition“, die Rückbesinnung auf die Konzepte der Moderne, die Generalbebauungs- und Generalverkehrsplanung, das Wohnungsbauprogramm und die Wiederentdeckung des innerstädtischen Bauens. Aspekte der städtebaulichen Entwicklung Dresdens vor 1945 mit dem Schwerpunkt der 30er und frühen 40er Jahre des 20. Jahrhunderts sowie im wiedervereinigten Deutschland nach 1990 wurden ergänzend einbezogen. Die Schrift besteht aus einem Einführungstext, der die Dresdner Entwicklung in die städtebaulichen Leitbilder einordnet, und dem Hauptteil mit Auszügen aus 33 wissenschaftlichen Veröffentlichungen des Autoren über den gesamten Betrachtungszeitraum hinweg. Neben der städtebaulichen Entwicklung insgesamt wird auch auf Teilaspekte wie Wohnungsbau, Verkehrsentwicklung oder die Leitbilddiskussion eingegangen. Der breite Katalog der städtebaulichen Lösungen, in mehreren Jahrzehnten und über Paradigmenwechsel hinweg entstanden, bildet einen wertvollen Erfahrungsschatz. Vor allem der Aspekt der Besonderheit der städtebaulichen Entwicklung Dresdens, der Radikalität, aber auch Beschränktheit der vielfach gewählten Lösungen, stellt im Sinne einer Bestandsaufnahme einen wesentlichen Ausgangspunkt für jegliche gegenwärtige und zukünftige Auseinandersetzung mit dem physischen Körper der Stadt dar. Einerseits wird es erleichtert, schutzwürdige Qualitäten der städtebaulichen Entwicklung des behandelten Zeitraumes zu erkennen, andererseits werden aber auch Ansatzpunkte für eine zukunftsfähige künftige Stadtentwicklung geboten
The subject of this study (Habilitation) is Dresden’s city planning in the second half of the twentieth century and the main strands of its development. The time frame comprises planning and realizations of building projects between the destruction of Dresden on 13/14 February 1945 and German reunification on 3 October 1990. Important stages are the search for planning concepts after destruction, projects of the “national tradition”, rediscovery of Modernist concepts, general city and transport plans, the programme for housing and the further development of inner-city planning. Additionally included are aspects of planning development before 1945 – with an emphasis in the 1930s and early 40s – as well as the situation in reunified Germany after 1990. The study consists of an introduction, which places Dresden’s development within planning paradigms. The middle section is a compilation of extracts from the author’s 33 scholarly publications spanning the entire time frame of this study. Apart from planning history in general, the study also considers housing, transport and theoretical discussions. The rich catalogue of planning solutions, acquired over decades and across changes in paradigms, builds a valuable store of experience. Especially through the uniqueness of Dresden‘s planning history, the radicalism, but also often the narrowness of chosen solutions, compiled here as a first inventory, a vital starting point for any current and future engagement with the body of this city is formed. On the one hand, the study facilitates the identification of the qualities that are worth preserving; on the other, suggestions for future-oriented city planning are offered

La réflexion engagée dans la thèse propose une archéologie des représentations collectives se rapportant à l’espace domestique de l’écrivain et à son œuvre au moyen d’une socio-critique des textes où elles prennent corps. À partir de la notion de « maison-musée », la maison-musée de l’écrivain est considérée comme un lieu réel et comme une structure mentale et matérielle où s’inventent, s’organisent, s’exposent et sont conservées des « images d’écrivain » qui, quoique variées, voire hétérogènes, définissent un imaginaire et une imagerie cohérents de la figure de l’écrivain. Dans la thèse, la dimension discursive de la « paratopie » du lieu d’écriture est mise en perspective avec les approches posturales et scénographiques centrées sur la figure de l’écrivain. Pour ce faire, l’étude postule que l’agencement des objets dans les maisons-musées s’appuie sur ces « scéno-mythographies ». Des dispositifs d’exposition divers les transposeraient par la suite dans l’espace muséal. Partant, la thèse montre que les mises en scène de l’écrivain à demeure constituent un levier essentiel des appropriations mémorielles collectives des écrivains et de leurs œuvres parce qu’elles cristallisent des représentations mythiques à succès qui s’actualisent dans l’esprit du temps. Plus largement, elles participent à l’écriture de l’histoire littéraire qui s’institutionnalise au XIXe siècle : elles mettent l’accent sur certains écrivains, sur une mythologie de la création littéraire et sur des œuvres qui ont vu le jour dans de « hauts-lieux littéraires ». Enfin, il s’agit de comprendre les enjeux de poétique et de réception qui lient les maisons des écrivains à leur œuvre littéraire
The reflection undertaken in the thesis offers an archaeology of the collective representations relating to the writer’s domestic space and work, by means of a socio-criticism of the texts in which they materialise. From the notion of “house-museum”, the writer’s house-museum is considered a real place, as well as a mental and material structure where « images of the writer » are invented, organised and displayed. Albeit varied, even heterogonous, these images define a coherent imagination and imagery of the writer’s figure. In the thesis, the discursive dimension of the writing place′s “paratopia” is put into perspective with scenographic and postural approaches that are centred on the figure of the writer. To that end, the study predicates that the arrangement of objects in house-museums is based on these ‘‘sceno-mythographies,’’ which are then transposed into the museum space thanks to various display devices. Right from the start, the thesis shows that the writer’s stagings perpetually constitute an essential lever of the writers’ collective memorial appropriations and their works because they crystallise successful mythical representations, which are actualized in the spirit of the age. More broadly, they take part in writing the literary history that is institutionalised in the 19th century: they put the emphasis on certain writers, on a mythology of the literary creation, and on works that came to life in “high literary places.” Finally, the thesis tackles the issues of poetics and reception that link the writers’ houses to their literary work

De 1914 à 1964, la conservation des monuments historiques d'Alsace est progressivement soumise à la législation et à la pratique administrative françaises. Cependant, les institutions introduites dans le Reichsland d'Alsace-Lorraine avant 1914 sont maintenues en vigueur après 1918 et certaines d'entre-elles sont même étendues aux départements " de l'Intérieur ". Après la centralisation des services d'Alsace et Lorraine en 1925, les monuments historique d'Alsace sont soumis à la même pénurie budgétaire que ceux des autres départements français. Le maintien en Alsace du régime des cultes concordataires permet toutefois aux édifices cultuels protégés au titre des monuments historiques de bénéficier de l'apport du budget des Cultes. En outre, les départements du Bas-Rhin et du Haut-Rhin prennent le relai de l'ancien Land d'Alsace-Lorraine pour subvenir à l'entretien des monuments historiques. La conservation des monuments historiques d'Alsace constitue un véritable enjeu national : le nombre d'édifices protégés ne cesse d'augmenter, les souvenirs et vestiges des deux guerres mondiales et les monuments d'architecture française sont particulièrement mis en valeur, alors que les monuments qui avaient été restaurés par des architectes allemands avant 1914 sont souvent " dérestaurés ". Le champ des protections s'élargit progressivement aux sites pittoresques, aux abords des monuments et aux centres anciens. Enfin, la connaissance du patrimoine alsacien progresse grâce à la réalisation de nouveaux inventaires.

In the framework of the conservation of early reinforced concrete structures from the last third of the 19th century up to 1914, this research deals with superstructures (excluding foundations, roads, pipes, etc.) in reinforced concrete (in the modern sense of the term – i.e. concrete made with artificial cement and rebars supplying tensile strength; thus, the combination of a metal profile embedded in concrete is excluded). The development of reinforced concrete as a building material started around 1880 and became widespread around the time of the First World War. Some of the structures concerned are listed as heritage properties today. Therefore they deserve specific and careful study to ensure long-term preservation of their historic, architectural, technical and socio-economic value. They bear witness to a period in construction history when reinforced concrete was a new material. The outbreak of the First World War marked the end of the initial period of innovation, exploration and experimentation. By then, reinforced concrete had become widely accepted and adopted as a suitable and effective building material. However, present-day attempts at restoration often prove inadequate, due to incomplete understanding of this period of construction and the characteristics of the first generation of reinforced concrete. If the causes of degradation are incorrectly diagnosed, the repairs are likely to be inappropriate. Moreover, the number of reinforced concrete structures requiring repair work is currently increasing with the natural ageing of the material. This phenomenon will continue to grow in the coming years.

With this in mind, the present research aims at identifying the specific structural characteristics of reinforced concrete structures erected before the First World War. Several axes of investigation were pursued in this PhD research and have resulted in the main observations detailed below.

- Based on a case study of the region of Brussels (Belgium), a database of structures built in reinforced concrete prior to 1914 was drawn up in order to place the material in its historical and geographical context. The inventory currently contains 507 examples and provides a panorama of the uses of reinforced concrete, ranging from numerous foundations and slabs to a complete structure from the end of the 1890s. This list is supplemented by a survey of a total of 605 patents filed for reinforced concrete in Belgium before the First World War. The early development of reinforced concrete was strongly related to national patenting, with a considerable number of systems being patented by private inventors for commercial purposes. Reinforced concrete profoundly transformed the building industry. All the professions working with the composite material had to change their approach, from the planning stage through to execution on the site. From the viewpoint of construction history, all these modifications make the time of the advent of reinforced concrete a particularly fruitful period to study.

- From the survey of early reinforced concrete structures in Brussels and the database of Belgian patents, the supremacy of the Frenchman François Hennebique and his system on the Brussels market for reinforced concrete (and, by extension, on the Belgian market) before 1914 is incontestable. This commercial achievement resulted from a combination of factors: an efficient structural system, meticulous attention to the quality of on-site reinforced concrete execution, and the commercial acumen to develop the business through advertising and other media. The well-known Hennebique system represents a monolithic structure including slabs, beams and columns. In fact, this system changed over the decades of operation of Hennebique’s company, not so much in relation to the design methods (his original semi-empirical method continued to be used) but particularly in practical terms (the type and location of the rebars among others). The evolution of the system is analysed by means of technical drawings from about 30 Belgian projects designed by Hennebique between 1900 and 1930.

- After the building contractors, who had been the first to believe in the structural and economic potential of reinforced concrete, engineers invented the calculation models and architects started developing new shapes. The Belgian engineer Paul Christophe was among the first theorists of reinforced concrete. The publication of his book Le béton armé et ses applications in 1899 is internationally recognised as a milestone in the rational modelling of structural reinforced concrete elements. Prior to the present study, details of his life and work remained largely uninvestigated, but the discovery of large parts of his personal archives has allowed clarification of his role in the popularisation of reinforced concrete, especially at the theoretical level.

- Reinforced concrete structures around the beginning of the 20th century were initially governed by empirical models of calculation (and execution) developed by the individual constructors. Gradually, reinforced concrete standards, published between 1904 and 1923 and based on working stress analysis and elastic modular ratio theory, replaced the utility of the patented systems. The different theoretical approaches are briefly described in this research. Mastering the theoretical assumptions and calculation methods used at the time represents the first step towards an appreciation of the structural behaviour and the possible weaknesses that can be expected.

- A review, based on literature published at that time, of the properties of the components of reinforced concrete allows identification of the characteristic materials used in the concrete matrix and the metal reinforcements. The execution process and the available technological tools for erecting a reinforced concrete structure are also addressed, as these would have had a direct influence on the quality of construction. Non-destructive and destructive experimental laboratory tests were performed on original samples, mainly removed from the Colo-Hugues viaduct (1904, Braine-l’Alleud, Hennebique system) in order to assess the mechanical properties, chemical features and durability issues for concrete and ferrous reinforcements. Comparing the results obtained using different techniques also makes it possible to determine the extent to which these techniques are reliable for the appraisal of early reinforced concrete structures.

- The structural efficiency of the Hennebique system is assessed based on an understanding of the principles of Hennebique’s semi-empirical method of calculation, but also – and primarily – by means of observations from experimental tests carried out on full-sized beams removed from the Colo-Hugues viaduct. Analysing and understanding the behaviour of the new composite material was a critical issue for promoting the use of reinforced concrete at the beginning of the 20th century. Today, what is required is a re-assessment of its structural behaviour. Three bending tests up to failure in simply supported conditions were performed at the BATir Department of the Université libre de Bruxelles on T-beams from the Colo-Hugues viaduct. This case study is representative of the majority of Hennebique structures, because the typical continuous straight T-beam is the main structural element of any Hennebique structure (bridge, building, etc.). The first test is a four-point bending test on a complete span (6 m) of the viaduct to obtain the response of the central part under positive bending moment. The flexural failure was ductile and occurred through yielding of the reinforcements followed by crushing of the concrete at mid-span. The second and third tests are three-point bending tests on 4 m long specimens centred on the column, representing the behaviour of the beam around the supports. These showed a sudden slipping failure due to loss of the adhesive bond between rebars. The results of these three experiments combined reproduce the actual behaviour of the viaduct in service. The bearing capacity of the Hennebique system in service and at ultimate has been demonstrated, at least for one loading case. These experimental tests provide essential data for a better understanding of the mechanisms of failure and reveal the main weaknesses of the Hennebique T-beam. Two strengthening solutions are suggested as supplementary information.

- The pathologies observed in early reinforced concrete structures (honeycombs, corrosion of the rebars, and so on) are mainly attributable to the tools and techniques that the builders had at their disposal (handmade compaction, high water-to-cement ratio, etc.) and by the limited contemporary knowledge of the physical and chemical phenomena, especially with regard to long-term effects. In fact, the concrete quality of the viaduct is surprisingly satisfactory despite its great age, due to the fact that the whole structure was covered with plaster, like the majority of reinforced concrete structures designed at that time.

This research establishes that reinforced concrete structures from 1880 to 1914 differ from later reinforced concrete structures. Taking into consideration the features of early reinforced concrete structures will contribute to ensuring sustainable conservation with limited intervention, thus preserving as much as possible of the original structure when restoration work is undertaken. Working on existing buildings often requires a multidisciplinary and holistic approach. The present study could thus be extended in various areas. For example, other structural aspects could be studied more in depth, such as demonstration of the shear strength of the Hennebique system or detailed consideration of the reinforcements (low adherence, particular anchorage devices, etc.)/

C'est dans le cadre de la conservation, au sens large du terme, que s'inscrit cette recherche sur les constructions en béton armé de première génération, c'est-à-dire de la fin du 19ème siècle au début du 20ème siècle. Cette recherche traite uniquement des superstructures, à l'exclusion des fondations, routes, tuyaux, etc. et en béton armé au sens moderne du terme, c'est-à-dire un béton réalisé à base de ciment artificiel et dont les armatures interviennent surtout pour reprendre les efforts de traction, ce qui exclut par exemple les utilisations de poutrelles métalliques enrobées de béton. Certains de ces ouvrages, réalisés entre 1880 et 1914, font aujourd'hui partie intégrante du patrimoine bâti, pour leurs valeurs architecturale, historique, technique ou aussi socio-économique. Ils jalonnent désormais l'histoire de la construction comme témoins d'une époque où le béton armé était un matériau nouveau. La Première Guerre mondiale marque la fin de cette période de premières innovations, d'explorations et d'expérimentations. Elle entérine l'acceptation et la diffusion du béton armé comme matériau de construction à part entière. Cependant, ainsi que le montrent certains projets de restauration actuels aux interventions inadéquates, il y a encore une méconnaissance des spécificités du béton armé de cette époque. Les causes de leurs dégradations mal diagnostiquées sont traitées de façon inappropriée. Or, dans les prochaines années, nombre de structures en béton armé construites dans la première moitié du 20ème siècle seront amenées à subir une rénovation suite au vieillissement naturel du matériau. C'est pourquoi pour conserver au mieux ces structures, il est indispensable d'étudier en détails leurs caractéristiques techniques pour ensuite intervenir, si nécessaire, de façon précise et adaptée.

Ce doctorat s'attèle donc à identifier les particularités des constructions en béton armé construites avant l'avènement de la Première Guerre mondiale, et plus spécifiquement à étudier leurs aspects structuraux. Plusieurs axes de recherche ont été développés et ont abouti aux principaux résultats suivants.

- Basé sur le cas de la région de Bruxelles-Capitale (Belgique), un inventaire des interventions en béton armé, construites avant 1914, a été dressé pour replacer le matériau dans son contexte historique et géographique. Cette base de données, comprenant 507 biens jusqu'à présent, illustre les types d'utilisation du béton armé dans la construction au début du 20ème siècle, d'abord des fondations ou simples planchers, jusqu'à une structure monolithique complète dès la fin des années 1890. Cet inventaire est complété par le relevé détaillé des brevets, au nombre de 605, déposés à ce sujet en Belgique avant la Première Guerre mondiale. Les brevets ont joué un rôle fondamental dans le développement du béton armé. Celui-ci était, en effet, régi par un foisonnement de systèmes commerciaux, majoritairement brevetés. L'introduction du béton armé a transformé en profondeur le secteur de la construction et notamment les professions liées tant à la phase de conception qu'au chantier lui-même. Du point de vue de l'histoire de la construction, toutes ces mutations font de l'avènement du béton armé une période historique riche.

- A la lecture du panorama offert par les inventaires des constructions et des brevets, la prééminence de la compagnie du Français François Hennebique, et donc de son système, sur le marché bruxellois (et par extrapolation sur le marché belge) du béton armé avant 1914 est indéniable. La réussite commerciale de Hennebique résulte d'une combinaison de facteurs: un système efficace sur le plan structural, une qualité d'exécution de béton coulé en place fiable et méticuleuse ainsi qu'un sens développé des affaires, en maîtrisant l'art de la promotion et de la publicité notamment. Le système bien connu de Hennebique comprend un ensemble monolithique formé par des dalles (hourdis), poutres et colonnes. Ce système a, en réalité, évolué dans le temps, pas tant d'un point de vue théorique (les calculs de dimensionnement sont les mêmes) mais plutôt pratique (positionnement, type d'armatures, etc.). Cette évolution a été observée par l'étude d'une trentaine de cas pratiques exécutés par Hennebique entre 1900 et 1930 en Belgique.

- Après les entrepreneurs, qui ont été les premiers à croire aux nouvelles possibilités constructives qu'offre le béton armé ainsi qu'à son succès commercial, les ingénieurs en inventent les principes de calcul et les architectes en révolutionnent les formes. L'ingénieur belge Paul Christophe fut parmi les premiers théoriciens du béton armé. La publication de son ouvrage Le béton armé et ses applications en 1899 constitue une étape importante, et internationalement reconnue, pour le dimensionnement rationnel d'éléments structuraux en béton armé. Jusqu'à la présente recherche, sa vie et son œuvre étaient restées assez confidentielles mais la découverte d'une partie de ses archives personnelles a permis de clarifier son rôle dans la diffusion, surtout théorique, du béton armé.

- Les structures en béton armé d'avant la Première Guerre mondiale furent d'abord gouvernées par des méthodes empiriques de dimensionnement (et d'exécution) développées par chaque constructeur. L'apparition des premières règlementations entre 1904 et 1923, basées sur une analyse en contraintes admissibles et la théorie du coefficient d'équivalence, remplace ensuite peu-à-peu l'utilité des systèmes brevetés. Les différentes approches théoriques sont brièvement décrites dans cette recherche. Maitriser les hypothèses et les méthodes de calculs employées à l'époque est, en effet, une première étape pour comprendre le fonctionnement structural prévu et les potentielles défaillances de dimensionnement.

- A travers une lecture attentive de la littérature publiée à cette période, les matériaux intervenants dans la fabrication du béton armé (c'est-à-dire le béton et les armatures) et utilisés couramment au début du 20ème siècle ont été identifiés ainsi que les moyens disponibles à cette époque pour produire des structures en béton armé. Des méthodes d'essais non-destructives et destructives ont été appliquées principalement, sur le viaduc Colo-Hugues (1904, Braine-l'Alleud, système Hennebique) afin d'évaluer les caractéristiques mécaniques, les propriétés chimiques et la durabilité tant du béton que des renforcements métalliques. Comparer les résultats de ces différentes méthodes permet d'aborder les limites d'utilisation de ces techniques, lorsqu'il s'agit d'évaluer structuralement des bétons armés de première génération.

- Grâce à la compréhension des principes, semi-empiriques, de dimensionnement appliqués par le bureau Hennebique en son temps mais surtout grâce aux observations déduites des essais expérimentaux réalisés sur des poutres de grandeur réelle, prélevées sur le viaduc Colo-Hugues, le fonctionnement structural réel du système Hennebique est évalué. Comprendre et modéliser le comportement du nouveau matériau composite fut une problématique fondamentale pour accroître l'usage du béton armé au début du 20ème siècle. Actuellement, il s'agit de réévaluer le comportement de ces structures. Trois essais jusqu'à rupture ont été menés, au département BATir de l'Université libre de Bruxelles, sur des poutres à gousset en T provenant du viaduc Colo-Hugues en conditions isostatiques et soumises à flexion. Ce viaduc des chemins de fer vicinaux est un cas d'étude représentatif de la majorité des constructions Hennebique, car la poutre de section en T est la structure typique du système Hennebique, utilisée tant dans les ouvrages d'art que dans les bâtiments. Le premier essai est une flexion 4 points sur une travée complète du viaduc (6 m de portée) pour obtenir la réponse en zone de moment maximum positif. La rupture ductile a eu lieu par plastification des armatures suivie d'un écrasement du béton en zone centrale, c'est-à-dire dans la zone la plus sollicitée. Deux éléments identiques de longueur de 4 m ont été essayés en flexion 3 points pour représenter le comportement sur appuis. La rupture de ces deux dernières expériences s'est produite suite à un glissement des armatures sur appuis (goussets à côté de la colonne). Il s'agit donc d'une rupture à caractère fragile. Les trois essais combinés représentent correctement la structure hyperstatique du viaduc dans son fonctionnement en service. La capacité portante réelle du système Hennebique en service et à l'état limite ultime, du moins dans un cas de chargement, a pu être expliquée. Ces essais fournissent les données essentielles pour estimer l'efficacité structurale du système Hennebique et identifier ses faiblesses. Deux solutions de renforcement sont proposées en complément d'information.

- Les pathologies observées dans les bétons armés datant du début du 20ème siècle (nids de graviers, corrosion des armatures, etc.) sont, la plupart du temps, causées par les outils sommaires à la disposition des constructeurs (vibration à la main, rapport eau/ciment plus élevé qu'aujourd'hui, etc.) et par une connaissance limitée des phénomènes physiques et chimiques, surtout à long terme. En fait, la qualité du béton du viaduc Colo-Hugues est particulièrement satisfaisante malgré l'âge avancé du béton, grâce notamment à l'enduit recouvrant l'ensemble du viaduc, ce qui est le cas pour la majorité des structures de la période étudiée.

Cette recherche démontre que les constructions en béton armé datant de 1880 à 1914 diffèrent des ouvrages postérieurs en béton armé et qu'il serait utile pour leur restauration de tenir compte de ces spécificités. La connaissance approfondie des particularités des constructions en béton armé de première génération permettra, espérons-le, de contribuer à leur longévité en intervenant le moins possible sur les structures d'origine. Etant donné que l'étude des structures existantes nécessite le plus souvent une approche pluridisciplinaire, ce travail pourrait être poursuivi dans plusieurs domaines variés. Il resterait notamment à approfondir d'autres aspects de stabilité, comme par exemple la démonstration de l'efficacité à l'effort tranchant du système Hennebique ou encore la prise en considération plus détaillée des armatures (adhérence limitée, forme d'ancrage particulier, etc.).
Doctorat en Sciences de l'ingénieur
info:eu-repo/semantics/nonPublished

Defence date: 14 May 2004
Examining board: Prof. Gerard Delanty, University of Liverpool ; Prof. Cris Shore, University of Auckland ; Prof. Alan Milward, European University Institute ; Prof. Bo Stråth, European University Institute (Supervisor)
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017

Defence date: 30 January 2009
Examining board: Prof. Laurence Fontaine (EUI, Florence and EHESS, Paris)-supervisor ; Prof. Peter Mandler (University of Cambridge) ; Prof. Dominique Poulot (Université de Paris 1-Panthéon-Sorbonne) ; Prof. Bruno de Witte (EUI, Florence)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses

In my thesis, I would like to concentrate on a lifestyle of nobility at castle Sychrov in the 19th and 20th century. Thesis would be compiled as a project for pupils of a primary school and lower secondary school. The first part would be focused and theoretically would relate to the concept of regional history and a brief history of the castle Sychrov. The following section will be focused to didactic part of the project and concepts of object and project-based learning. In the theoretical part I also focus on the new concept "The Big Six historical thinking concepts", which participates in the development of historical thinking of pupils. The last part will be focused on the actual realization of the project with the pupil.

Dissertação de Mestrado em Património Cultural e Museologia apresentada à Faculdade de Letras
Com esta dissertação pretende-se estudar a forma como os conceitos de memória e identidade são alvo de modelações do seu significado pela sociedade e pelo poder político, através de uma análise dos desafios inerentes à musealização de temáticas fraturantes, cujos significados e representações são fortemente contestadas e/ou significativas para a afirmação das identidades coletivas. Principalmente memórias politicamente sensíveis que, contando com a característica de serem dissonantes, são mais difíceis de tratar porque recordam passados incomodativos, que podem ser impulsionadoras de tensões sociais no tempo presente.Vindo a ser, nesse sentido, analisada a forma como isso se refletiu num projeto de musealização de 5 espaços-memória de personalidades políticas, um regime e uma estância sanatorial fortemente politizada, nomeadamente o Centro de Interpretação do Antissemitismo e do Holocausto/ Casa-Museu Aristides de Sousa Mendes, Centro de Interpretação do Estado Novo, Centro de Interpretação da I República/ Casa-Museu António José de Almeida, Centro Interpretativo da I República – Afonso Costa e o Centro de Interpretação da Estância Sanatorial do Caramulo, que futuramente constituiriam a Rede de Centros de Interpretação e/ou Casas-Museu de História e Memória Política da I República e do Estado Novo.Tendo em consideração o enquadramento da rede museológica no desenvolvimento museológico nacional e internacional desse tipo de memorialismo, da valorização patrimonial e procurando demonstrar a forma como as respetivas elites lidam com os conceitos de identidade e memória, demonstrar-se-á também como esse tipo de memorialismo difere consoante a realidade sociopolítica em que se insere.
This dissertation aims at studying how the concepts of memory and identity are the target of meaning modelations by society and by political power, through an analysis of the challenges inherent to the musealization of fracturing themes, whose meanings and representations are strongly contested and/or significant for the affirmation of collective identities. These are mainly politically sensitive memories, which are dissonant and therefore more difficult to deal with because they recall uncomfortable pasts, which can lead to social tensions in the present time.In this instance, it was analyzed the way in which this was reflected in a project for the musealization of 5 memory spaces of political personalities, a regime and a highly politicized sanitarium, namely Centro de Interpretação do Antissemitismo e do Holocausto/ Casa-Museu Aristides de Sousa Mendes, Centro de Interpretação do Estado Novo, Centro de Interpretação da I República/ Casa-Museu António José de Almeida, Centro Interpretativo da I República – Afonso Costa e o Centro de Interpretação da Estância Sanatorial do Caramulo, that in the future would constitute the Rede de Centros de Interpretação e/ou Casas-Museu de História e Memória Política da I República e do Estado Novo.Taking into account the framing of the museological network in the context of national and international museological development of this type of memorialism, the heritage valuation and the search to demonstrate how the respective elites deal with the concepts of identity and memory, it will also be demonstrated how this type of memorialism differs depending on the sociopolitical reality in which it is inserted.

The aim of this thesis is to conduct a survey of the preservation of architectural cultural heritage at the end of the 1980s and beginning of the 1990s. This will be demonstrated using as an example the historical centre of Prague. The thesis is divided into two similar parts. The first one focuses on the system, workings and legislation of heritage preservation in the 1980s. Partially it describes broader social and political aspects of the 1980s as well. The second part addresses the same topics, but during the beginning of the 1990s. In each case, three heritage preservation examples have been selected and these provide a closer examination of the system of cultural heritage preservation described earlier. The research work conducted demonstrates that whilst during the 1970s and 1980s a preservation system of the centre of Prague was gradually established, the 1990s saw the system being slowly disrupted and weakened, whether intentionally or unintentionally. However, heritage preservation never achieved a fully satisfactory standard in either studied period. Keywords: heritage preservation - historic preservation - architecture - urbanism - Prague - 20th century

1 SUMMARY Regaining the Past. Yugoslav Legacy in the Period of Transition: the Case of Formal and Alternative Institutions of Art and Culture in Serbia at the End of the 20th and the Beginning of the 21st Century Before, during the existence of Yugoslav state, and in the post Yugoslav period, common cultural (and art) space was shaped by the similar language, culture, connections, mentality, territory, economic relations, (foreign) influences and art production. After the dissolution of Yugoslavia in disastrous war conflicts, a large economic and cultural crisis hit the whole Balkan region. Cruelty of the Bosnia war, together with embargo, economic crisis, severe inflation, protests, caused a cultural collective trauma in all former Yugoslav countries. Simultaneously. High level of (narrative) fragmentation occurs in all institutions as the consequence of the crisis in society. It reflects in the dysfunctionality of institutions and eventually in closing down. After the dark period of the ‘90s, in 2000, Serbia dived into progressive democratic changes and an unblocked transition process, that will become a large source of disappointment in Serbian society. During all the changes and fluctuations, Yugoslavia (idea and a state) figurate as a main culprit for a crisis and a huge mistake in the newest history. Individual memory and private space of citizens in Serbia was still crowded by the memories of the previous period, but translating into cultural memory became doubtful. For that kind of translation, and revitalization of the part of the culture, space for speech, discussion, search for meaning should be essential, initiated and placed in institutions of culture. In my research I was trying to investigate if and how Yugoslavia continued to exist in cultural institutions as a phenomenon, through values of its ideology and common and wide cultural space, as a notion, motif, and theme of the projects and events, in spite of all mentioned 2 circumstances. I intended to represent the importance of Yugoslav legacy (as a symbolic heritage in the first place), from the perspective of making continuity and finding (creating) meaning about the past, as a way of overcoming cultural trauma. The main categories and points of view I have chosen as a methodology of the research, could be named as interdisciplinary cultural study approach, through content analysis and notions of representations interpretation, discovering of symbolic or concrete presence/ absence. The material for my research were catalogues from the exhibitions and following publications, articles from newspapers and magazines, academic literature, non-official interviews, videos, comments on exhibitions, comments as a part of the program in institutions, personal interpretations of actors (artists, academics, curators, activists, audience) expressed in informal interviews and meetings, noted or recorded, so that could be incorporated in my research. Entire argument is divided into the four parts: State of Art, Historical Context, Official Institutions; Alternative Institutions accompanied with the Introduction at the beginning, and Conclusions at the end (together with Bibliography, List of Photos and Summary in English, Polish and Serbian). In the first chapter State of Art, with an overview of books, articles and projects that are connected with a theme of my work, I present different aspects of its formulation and content. The second chapter titled Historical context is dedicated to the history of South Slavic unity with overview of Yugoslav history. For the analytical part of my research I have chosen three official and three alternative institutions to describe and illustrate the place and role of the Yugoslav narrative and legacy in cultural institutions: among official those are Serbian Pavilion in Venice (Paviljon Republike Srbije u Veneciji), Museum of Contemporary Art in Belgrade (Muzej savremene umetnosti u Beogradu), Museum of Yugoslavia (Muzej Jugoslavije), and among nonofficial (alternative) institutions those are Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju/ CZKD), squat Inex, and alternative cultural center Catch 22 (Kvaka 22). I had an assumption that choosing from the different types of the institution could help in creating the wider image, and form the basis for a more complete map of the institutions in Serbia in the post Yugoslav period. Analytical part dedicated to official institutions placed after Historical context contains three chapters describing three institutions. 3 The first chapter in a part regarded official institutions is dedicated to the Pavilion of Republic Serbia in Venice, former Pavilion of Yugoslavia in Venice (all of state emanations). I have decided to investigate Serbian (former Yugoslav) Pavilion in Venice as the only institution where Yugoslavia still exists in the frame of international art and culture manifestations (even just as a living memory and context). The second chapter is dedicated to The Museum of Contemporary Art in Belgrade, opened in 1965 as the most prominent cultural institution representing the Yugoslav and Serbian Art of the 20th century. The Museum of Contemporary Art appears to be the institution symbol of the Yugoslav art and culture creation. The third one is dedicated to the Museum of Yugoslavia, the only institution in former Yugoslav space dedicated fully to representation of Yugoslavia. Institution showed the enormous capacity for transformation, communicating the possibility of the new modern institution. Analytical part dedicated to alternative institutions also contains three chapters with the short introduction bringing the explanations and description of alternative institutions as a phenomenon. The first chapter in a part of research Alternative institutions is dedicated to the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju / CZKD). Being one of the oldest non official organizations in Serbia, emerged from a decisive protest against the regime of Slobodan Milošević in 1995, CZKD was my choice for the alternative institution of the older generation. As the second case I have decided to describe the squat and cultural center Inex established in a building of the Inex Film Company. The end of the analytical part dedicated to alternative institutions represents the case of Kvaka 22, as an example for the youngest generations of the artists and cultural workers, activists and citizens, and their approach towards culture and art, past and present. In the Conclusions I have presented in the same time common denominators of the all described institutions from the perspective of Yugoslav legacy, and wider context as a common space for them all. Also, I have accentuated the conclusion about the significance of cooperation between institutions, in the field of cultural memory but not just. The phenomenon of relatedness and interconnectedness appears to be crucial for the resolution of the cultural crisis.
1 Streszczenie Odzyskiwanie przeszłości. Dziedzictwo jugosłowiańskie w okresie transformacji: oficjalne i alternatywne instytucje kultury i sztuki w Serbii na przełomie XX i XXI wieku Wspólna jugosłowiańska przestrzeń kulturowa (i artystyczna) kształtowała się zanim powstała Jugosławia, w czasie jej istnienia, a także po jej rozpadzie. Czynnikami, które o tym decydowały był podobny język, kultura, powiązania, mentalność, terytorium, stosunki gospodarcze, (zewnętrzne) wpływy i produkcja artystyczna. Po rozpadzie Jugosławii w wyniku katastrofalnych konfliktów wojennych omawiany region został dotknięty ogromnym kryzysem ekonomicznym i kulturalnym. Okrucieństwo wojny w Bośni i Hercegowinie, a także embargo, kryzys ekonomiczny, ostra inflacja i protesty wywołały zbiorową traumę kulturową we wszystkich krajach byłej Jugosławii równocześnie. Konsekwencją kryzysu społecznego był wysoki stopień fragmentacji (narracji) pojawiający się we wszystkich instytucjach. Wyrażał się on w dysfunkcjonalności instytucji, a następnie w ich zamknięciu. W roku 2000, po mrocznej dekadzie lat dziewięćdziesiątych, Serbia rozpoczęła demokratyczne zmiani i odblokowała proces transformacji, który stał się powodem ogromnego rozczarowania społeczeństwa serbskiego. W trakcie tych zmian i przekształceń Jugosławia (rozumiana jako idea i państwo) zaczęła jawić się jako główny sprawca kryzysu. Pamięć indywidualną i przestrzeń prywatną obywateli Serbii wciąż wypełniały wspomnienia poprzedniego systemu, ale możliwość przełożenia tego na pamięć kulturową stała pod znakiem zapytania. Dla tego typu kulturowego przekładu i rewitalizacji wspomnianego wycinka kultury konieczna jest bowiem przestrzeń dialogu, dyskusji, poszukiwania sensu, zainicjowana i umiejscowiona w instytucjach kultury. W rozprawie podjęłam próbę odpowiedzi na pytanie, czy i w jaki sposób Jugosławia, rozumiana jako pojęcie, motyw, temat projektów i wydarzeń, przejawiająca się w określonym systemie aksjologicznym oraz fenomenie wspólnoty kulturowej – funkcjonuje w instytucjach kultury wbrew powyżej zarysowanym okolicznościom. Moim zamierzeniem było zaprezentowanie znaczenia dziedzictwa Jugosławii (przede wszystkim jego 2 symbolicznego wymiaru) w odniesieniu do procesu ustanawiania ciągłości i odnajdywania (tworzenia) sensu przeszłości jako sposobu na przezwyciężenie traumy kulturowej. Główne kategorie i perspektywy badawcze, które stały się metodologiczną podstawą moich badań, tworzą podejście nazywane interdyscyplinarnymi badaniami kulturowymi i obejmują analizę treści, interpretację reprezentacji, odkrywanie symbolicznej lub rzeczywistej obecności/nieobecności. Jako materiał naukowy posłużyły mi publikacje dotyczące wystaw i projektów, a także opracowania takie jak artykuły prasowe, filmy, komentarze do wystaw, komentarze zawarte w programach instytucji, literatura naukowa, osobiste interpretacje aktorów społecznych (artystów, naukowców, kuratorów, aktywistów) wyrażone w nieformalnych i formalnych wywiadach udzielanych podczas spotkań i zarejestrowanych przez media. Rozprawa składa się z czterech rozdziałów: Stań badań, Kontekst historyczny, Oficjalne instytucje, Alternatywne instytucje. Poprzedza je Wprowadzenie i zamykają Wnioski. W końcowej części pracy znajduje się Bibliografia, Spis ilustracji i streszczenie. W rozdziale pierwszym (Stan badań) zaprezentowałam przegląd literatury, prasy oraz projektów związanych z tematem pracy, podkreślając różnorodność w obrębie ich treści, a także w sposobach formułowania głównego problemu. Rozdział drugi (Kontekst historyczny) poświęcony jest historii idei jedności Słowian Południowych na tle historii Jugosławii. W części analitycznej rozprawy do badania roli narracji o Jugosławii i jej dziedzictwa w instytucjach kulturalnych wybrałam trzy instytucje oficjalne i trzy instytucje alternatywne. Wśród instytucji oficjalnych znalazły się: Pawilon Serbski w Wenecji (Paviljon Republike Srbije u Veneciji), Muzeum Sztuki Współczesnej w Belgradzie (Muzej savremene umetnosti u Beogradu) oraz Muzeum Jugosławii (Muzej Jugoslavije). Spośród instytucji nieoficjalnych (alternatywnych) do analizy wybrałam Centrum Dekontaminacji Kulturowej (Centar za kulturnu dekontaminaciju, CZKD), squat Inex oraz alternatywne centrum kultury Kvaka 22. Przyjęłam założenie, że taki wybór z szerokiego wachlarza instytucji przyczyni się do zaprezentowania szerokiego obrazu, a także stanowić będzie podstawę pełniejszej mapy instytucji kultury w Serbii w okresie postjugosłowiańskim. Część analityczna poświęcona oficjalnym instytucjom składa się z trzech podrozdziałów. Pierwszy podrozdział poświęcony jest Pawilonowi Serbskiemu w Wenecji, byłemu Pawilonowi Jugosławii w Wenecji (emanacji Jugosławii na każdym etapie jej politycznego istnienia). 3 Postanowiłam poddać badaniu Pawilon Serbski (były Jugosłowiański) w Wenecji jako jedyną instytucję, w której Jugosławia wciąż istnieje w ramach międzynarodowych manifestacji kultury i sztuki (choćby jako żywa pamięć i kontekst). Drugi podrozdział poświęcony jest Muzeum Sztuki Współczesnej w Belgradzie, otwartemu w 1965 roku, jako czołowej instytucji kulturalnej reprezentującej jugosłowiańską i serbską sztukę XX wieku. Muzeum Sztuki Współczesnej jawi się tu jako symbol procesu tworzenia kultury i sztuki Jugosławii. Trzeci podrozdział poświęcony jest Muzeum Jugosławii, jedynej instytucji na obszarze byłej Jugosławii w całości poświęconej Jugosławii. Instytucja ta wykazała się ogromną zdolnością transformacji, wykazując jednocześnie potencjał nowoczesnej instytucji kultury. Część analityczna poświęcona instytucjom alternatywnym również składa się z trzech podrozdziałów. Poprzedza je krótkie wprowadzenie i ogólna analiza instytucji alternatywnych jako fenomenu kulturowego. Pierwszy podrozdział poświęcony jest Centrum Dekontaminacji Kulturowej (Centar za kulturnu dekontaminaciju / CZKD). W związku z tym, że Centrum wyrosło ze zdecydowanego protestu przeciwko reżimowi Slobodana Miloševicia w 1995 roku i jest jedną z najstarszych nieoficjalnych instytucji w Serbii, zostało poddane analizie jako instytucja alternatywna starszej generacji. W drugim podrozdziale omówiony został squat i centrum kulturalne Inex, założone w budynku wytwórni filmowej Inex. W ostatnim podrozdziale części analitycznej uwagę poświęciłam instytucji alternatywnej Kvaka 22 jako przykładowi działalności najmłodszego pokolenia artystów i działaczy kultury, aktywistów, obywateli. W części Konkluzje opisałam punkty styczne wszystkich analizowanych instytucji z perspektywy dziedzictwa Jugosławii, a także naświetliłam szerszy kontekst funkcjonowania tych instytucji jako ich przestrzeń wspólną. Ponadto opisałam wnioski dotyczące znaczenia współpracy między tymi instytucjami nie tylko w obszarze pamięci kulturowej. Zjawisko pokrewieństwa i wzajemnych powiązań wydaje się mieć kluczowe znaczenie dla wyjścia z kryzysu kulturowego.

Gegenstand der Habilitationsschrift sind die wesentlichen Strömungen der städtebaulichen Entwicklung Dresdens in der zweiten Hälfte des 20. Jahrhunderts. Der Zeitraum umfasst Planungen und Realisierungen zwischen der Zerstörung Dresdens am 13./14. Februar 1945 und der Vereinigung mit der Bundesrepublik Deutschland am 3. Oktober 1990. Wichtige Etappen bilden dabei die Konzeptionssuche nach der Zerstörung, der Städtebau der „nationalen Tradition“, die Rückbesinnung auf die Konzepte der Moderne, die Generalbebauungs- und Generalverkehrsplanung, das Wohnungsbauprogramm und die Wiederentdeckung des innerstädtischen Bauens. Aspekte der städtebaulichen Entwicklung Dresdens vor 1945 mit dem Schwerpunkt der 30er und frühen 40er Jahre des 20. Jahrhunderts sowie im wiedervereinigten Deutschland nach 1990 wurden ergänzend einbezogen. Die Schrift besteht aus einem Einführungstext, der die Dresdner Entwicklung in die städtebaulichen Leitbilder einordnet, und dem Hauptteil mit Auszügen aus 33 wissenschaftlichen Veröffentlichungen des Autoren über den gesamten Betrachtungszeitraum hinweg. Neben der städtebaulichen Entwicklung insgesamt wird auch auf Teilaspekte wie Wohnungsbau, Verkehrsentwicklung oder die Leitbilddiskussion eingegangen. Der breite Katalog der städtebaulichen Lösungen, in mehreren Jahrzehnten und über Paradigmenwechsel hinweg entstanden, bildet einen wertvollen Erfahrungsschatz. Vor allem der Aspekt der Besonderheit der städtebaulichen Entwicklung Dresdens, der Radikalität, aber auch Beschränktheit der vielfach gewählten Lösungen, stellt im Sinne einer Bestandsaufnahme einen wesentlichen Ausgangspunkt für jegliche gegenwärtige und zukünftige Auseinandersetzung mit dem physischen Körper der Stadt dar. Einerseits wird es erleichtert, schutzwürdige Qualitäten der städtebaulichen Entwicklung des behandelten Zeitraumes zu erkennen, andererseits werden aber auch Ansatzpunkte für eine zukunftsfähige künftige Stadtentwicklung geboten.
The subject of this study (Habilitation) is Dresden’s city planning in the second half of the twentieth century and the main strands of its development. The time frame comprises planning and realizations of building projects between the destruction of Dresden on 13/14 February 1945 and German reunification on 3 October 1990. Important stages are the search for planning concepts after destruction, projects of the “national tradition”, rediscovery of Modernist concepts, general city and transport plans, the programme for housing and the further development of inner-city planning. Additionally included are aspects of planning development before 1945 – with an emphasis in the 1930s and early 40s – as well as the situation in reunified Germany after 1990. The study consists of an introduction, which places Dresden’s development within planning paradigms. The middle section is a compilation of extracts from the author’s 33 scholarly publications spanning the entire time frame of this study. Apart from planning history in general, the study also considers housing, transport and theoretical discussions. The rich catalogue of planning solutions, acquired over decades and across changes in paradigms, builds a valuable store of experience. Especially through the uniqueness of Dresden‘s planning history, the radicalism, but also often the narrowness of chosen solutions, compiled here as a first inventory, a vital starting point for any current and future engagement with the body of this city is formed. On the one hand, the study facilitates the identification of the qualities that are worth preserving; on the other, suggestions for future-oriented city planning are offered.