Dissertations / Theses on the topic 'Utopian architecture'
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Lau, Sing Yeung (Sing Yeung Sunnie). "The death of growing cities?! : reconstructing the post-utopian urbanism in China now!" Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/79133.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (p. 131-132).
THROUGHOUT HUMAN CIVILIZATIONS; THERE WERE MOMENTS OF COLLECTIVE ATTEMPTS TO REBUILD A UTOPIAN FUTURE TRIGGERED BY POLITICAL, ENVIRONMENTAL, SOCIAL AND/ OR ECONOMIC CRISES. CRISIS SEEMS TO BE A UNIQUE MOMENT TO INITIATE/ GAIN CRITICAL MASS ATTENTION TOWARDS MAKING A NEW PAGE/CHANGE IN HISTORY. IN OTHER WORDS, AS (ARCHITECTS AND URBAN PLANNERS) WE ARE CONSTANTLY RECONSTRUCTING UTOPIAN FUTURES, GREAT MODERNIST VISIONS IN THE 1920S' AND LATER IN 1960S'; THOUGH THEY WERE NOT ABLE TO COPE WITH THE EVOLVING ECONOMIC/ SOCIAL CONSTRUCT OF THE CURRENT SYSTEM--THE URBAN DEVELOPMENT MODEL OF CAPITALISM - THAT WE ARE OPERATING WITHIN SINCE THE INDUSTRIAL REVOLUTION. THE DISCREPANCY BETWEEN REALITIES AND THE INDIVIDUAL/ COLLECTIVE, PROJECTED FUTURE HAS SEEMED TO FAIL US. UTOPIA- BECOMES DYSTOPIA- OR EVEN SOMETHING UNREACHABLE - A MERE IDEOLOGICAL HOPE OF HUMAN CIVILIZATION--ALMOST LIKE A DOGMATIC RELIGION. PROJECTING INTO THE FUTURE, IN THE YEAR 2050, WHAT IF MOST DEVELOPMENTS IN DEVELOPED COUNTRIES ARE FACING PROBLEMS OF MAINTAINING OR DEALING WITH OVERSIZED INFRASTRUCTURES? PROBING THE FUTURE IN TODAY'S EYES SUGGEST THAT THE FATE OF "NEW" CITIES HAVE LONG BEEN SCRIPTED AND ARE PRESCRIBED TO DOOM. AND NOW, WE ARE IN A CRITICAL MOMENT OF CRISIS/ OPPORTUNITY IN TURNING OVER TO A PATH TO A NEW ATTAINABLE REALITY IN THE MIST OF UNIMAGINABLE SPEED OF CITY MAKING PROCESS IN CHINA. NEVER BEEN MORE URGENT THAN BEFORE, ECONOMIC GROWTH ACCOMPANIED BY VAST URBANIZATION-THE CITIES AND THEIR QUALITY OF LIFE ARE IN TROUBLE NOW.... HOW SHOULD ARCHITECTS/ URBANISTS REACT IN A SMART WAY THAT COULD DEVISE A REMEDY TO "CORRECT" THE ULTIMATE "SYSTEMATIC FAILURE" IN THE POST-UTOPIAN FUTURE? AND WHAT SHOULD HAVE HAPPENED TO URBANISM--30 YEARS AGO-WILL HAPPEN NOW? THIS THESIS INTENDS TO REVISIT AND UNPACK THE ARCHITECTURAL TYPOLOGY OF HYBRID GROUP-FORM IN HOUSING, QUESTIONS THE PERMANENT/ INFLEXIBLE NATURE OF THE IDEOLOGIES OF THESE TYPOLOGIES. THE THESIS ATTEMPTS AS AN COMPREHENSIVE DOCUMENTATION OF AN ANATOMY OPERATION IN FINDING THE ELEMENTS THAT CONTRIBUTE TO THE PARADOX OF INCAPABILITY IN ADDRESSING THE CYCLE OF LIFE AND DEATH OF CITIES ESPECIALLY AT THOSE MOMENTS OF ARISING COMPLICATION AND MULTIPLICITY OF ECONOMIC, POLITICAL, ENVIRONMENTAL AND CULTURAL CRISIS IN THE NEW ERA OF CHINA.
by Sing Yeung (Sunnie) Lau.
M.Arch.
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Parslow, Michelle Lisa. "Women, science and technology : the genealogy of women writing utopian science fiction." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3058.
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For centuries utopian and science fiction has allowed women to engage with dominant discourses, especially those which have been defined as the “domain” of men. Feminist scholars have often characterized this genealogy as one which begins with the destabilization of Enlightenment ideals of the rational subject in the Romantic Revolution, with the publication of Mary Shelley’s Frankenstein (1818) in particular. This thesis demonstrates that there has in fact been an enduring history of women’s cognitive and rational attempts to explore key discourses such as science, technology and architecture through Reason, as opposed to rage. This is a genealogy of women writing utopian science fiction that is best illuminated through Darko Suvin’s of the novum. Chapter One reveals how the innovative utopian visions of Margaret Cavendish (1626-1673) proffer a highly rational and feminist critique of seventeenth-century experimental science. Chapter Two demonstrates how Sarah Scott’s Millenium Hall (1762) explored the socio-political significance of the monstrous-looking “human” body some fifty years before Shelley’s Frankenstein. Following this, Chapter Three re-reads Frankenstein in light of the early nineteenth century zeitgeist of laissez-faire economics, technological advancement and global imperialism and argues that these were also the concerns of other utopian science fiction works by women, such as Jane Loudon’s The Mummy! (1827). Chapter Four analyses how the function of the novum is integral to L.T. Meade’s (1854-1915) depictions of male/female interaction in the scientific field. Chapter Five considers how important it is to acknowledge the materialist concern with popular science that informs texts such as Joanna Russ’s The Female Man (1975) and Pat Cadigan’s cyberpunk novel Synners (1991). This is the history of how women have used the form of utopian science fiction as a means with which to present a rational female voice. In addition to the historical works by women, it employs a range of utopian and science fiction theory from Suvin and Fredric Jameson to historical and contemporary feminism.
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Uecker, Jeffry Lloyd. "From Promised Lands to Promised Landfill: The Iconography of Oregon's Twentieth-Century Utopian Myth." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5026.
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The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. The visual arts also have responded to Oregon's utopian myth. During the nineteenth century, the landscape was a primary focus for utopian art. In the twentieth century, past human achievements, recreation, agriculture, and industry have joined the environment as themes which inspire utopian imagery. The objective of this study is to demonstrate that twentieth-century art that responds to Oregon's utopian myth has given rise to an iconography which both energizes and reflects the development of that myth and which informs an important component of the state's identity. Using as a criteria that which idealizes Oregon as a place, an inventory of utopian art was compiled. It includes over 300 works of visual art, plus a number of artists for whom utopian subjects served as a consistent element. From this information, dominant themes were identified which demonstrate the existence of iconography, or visual symbolism, that expresses Oregon's utopian myth. Through the themes of natural environment, heroic images of Oregon's human past, and interaction between humans and the environment-plus numerous sub-themes-the artistic evidence demonstrates that visual imagery and symbols play an important role in how Oregonians define themselves and their history. It also suggests what form the state's utopian myth, identity' and the decisions made by its people may take in the next century.
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Hann, Rachel Nicole. "Computer-based 3D visualization for theatre research : towards an understanding of unrealized utopian theatre architecture from the 1920s and 1930s." Thesis, University of Leeds, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540209.
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Cordellier, Maxime. "Recherche d'autonomie et architecture du commun dans les styles de vie communautaires." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC010/document.
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Héritières des années 1970 les communautés intentionnelles ont pour objectif de remettre en cause les pratiques et liens sociaux propres à la société contemporaine. Par l’association du travail et de la vie domestique elles forment un type d’organisation sociale tournée vers le vivre ensemble et le travail du commun. Cette thèse démontre à partir du cadre théorique de la résistance ordinaire, que les communautés intentionnelles mettent en pratique une manière d’être au monde qui leur est spécifique. Par le retour à la terre et le détour par la nature, elles inscrivent leur action dans une temporalité et une spatialité nourries d’une projection utopique puisant ses sources dans les représentations d’un passé mythifié. Celui-ci sert la mise en action dans le présent de ce monde et l’expérimentation d’un monde à faire advenir. Ces communautés développent, des visions et un agir guidés par ce que je propose d’appeler une rétrospection utopique. Ce faisant, elles investissent des espaces publics interstitiels et oppositionnels en juxtaposant des imaginaires et des pratiques qui font correspondre à trois logiques sociales (le mythe, le retour, l’utopie) trois registres d’historicité (conservation, rétrospection, progression). Elles organisent le ralentissement de la machine technobureaucratique et capitaliste et convoquent les racines agraires des sociétés antérieures pour préfigurer l’avènement d’une société nouvelle, agraire et politiqueRecipients of the 1970’s legacy, intentional communities aim at reconsidering the practices and social relations specific to contemporary society. Through the association of work and domestic life they form a kind of social organization turned towards «living together » and « working the common ». Using the theoretical framework of common resistance as a basis, this thesis demonstrates that intentional communities put into practice a peculiar manner of being-in-the-world. By way of a return to the land and of a detour via nature, their action is inscribed in a temporality and a spatiality fueled by utopian projection, which draws on representations of a mythologized past. That past serves the present-time actualisation of this world, and the experimentation of a world-to-be-brought-about. These communities develop visions and ways of doing guided by what I suggest we call utopian retrospection. In doing so, they invest intersitial and oppositional public spaces by juxtaposing imaginaries and practices that correlate three social logics (myth, return, utopia) with three registers of historicity (conservation, retrospection, progression). They organise the slowing down of the techno-bureaucratic and capitalistic machine and summon the agrarian roots of earlier societies to prefigure the advent of a new society, both agrarian and political
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Ekberg, Sofia. "Findings through fragmentation." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6375.
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Findings through fragmentation Architecture is an obvious remnant of our collective past and gives us a fragment of a former life and a different time. This unique relationship between what’s new and old is a very powerful spatial opportunity. If memory is defined as ‘The faculty by which the mind stores and remembers information’ then the role of architecture comes to play is the prop for our collective and individual memories where it represents past events and people. If we look closely at the definition of a fragment without it's context it will be read as ‘incomplete’ and subordinate to the completed it is extracted from. Architectural fragments have a power of resisting such expected unity and can be read into an alternative whole of none. By fragmenting industrial buildings that is going to b demolished, representing a time and a group of people in Lövholmen/Stockholm, I wish to embody memory and recall spaces that will be forever lost.Rummet mellan det som är och det som har varit Arkitektur representerar vår historia och det kollektiva minnet. Att minnas definieras som ‘förmågan att lagra erfarenheter och göra det möjligt att känna igen och lära’. Minnen placerar oss i förhållande till tid och rum vilket gör att platser och arkitektur kommer att spela en stor roll som bärare av vår kollektiva historia. Byggnader som bär spår av tid där de har varit grunden i en annan kontext kan utgöra ett unikt möte mellan det rum som existerar och det som har varit. När vårt medvetna väljer ut och sorterar bland minnen fragmenteras det som vi upplevt och bara vissa delar finns kvar. Fragment kan definieras som en pusselbit som tillhört en helhet och blivit en spillra. Styrkan i arkitektonisk fragment är att de kan läsas på nya sätt efter att det isolerats från en helhet och antingen läsas in i en ny kontext eller ingen. Genom att fragmentera byggnader som representerar en specifik tid och grupp av människor som har använt dom vill jag förkroppsliga dessa rumsliga minnen innan de för alltid går förlorade.
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Founeau, Matthieu. "Esthétiques de l'Utopie : l'architecture inquiétée par l'art contemporain." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30077.
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En 1516, l’humaniste anglais Thomas More écrit l’Utopie et nomme ainsi un genre à part entière qui, loin d’être une notion inédite, va questionner et secouer l’ensemble des champs artistiques et philosophiques. A travers notre recherche, il s’agit d’approcher cet insaisissable « lieu de nulle part » par le prisme d’un travail interdisciplinaire où s’interrogent réciproquement architecture et art contemporain. Il faut dès lors saisir l’utopie dans l’espace et le lieu propre de la contemporanéité et du contemporain qui, comme le souligne Giorgio Agamben est, « celui qui reçoit en plein visage le faisceau de ténèbres qui provient de son temps ». Loin des attentes et des présupposés de l’Histoire et de la chronologie, nous tenterons d’entendre l’utopie au sein d’un maillage où s’interrogent et s’interpellent philosophie, esthétique, littérature, poésie, psychanalyse et, bien évidemment, architecture et arts plastiques. Basé sur le modèle de la carte heuristique, où s’entremêlent les chemins qui ne mènent nulle part, il faut entrevoir cette recherche sous les traits d’une promenade intime, esthétique et poétique. Promenade à la rencontre de motifs privilégiés tels que : le voyage, le naufrage, la porte, le seuil, le labyrinthe, la tour, l’arbre, la pyramide, l’île, le refuge, la grotte, la caverne ou encore le chantier, la ruine, le chez-soi, et cetera. Enfin, il est nécessaire de noter que c’est à partir et à travers les œuvres d’art que cheminera notre propos, renforcé par leurs puissances poïétiques et poétiques intrinsèques qui sont aussi mises en acte au sein même de l’utopieAesthetics of Utopia : architecture queried by contemporary art In 1516, the English humanist Thomas More wrote Utopia and thereby designated a full genre which, far from being a new notion, will question and shake the whole artistic and philosophical domains. Through our research, we will approach this elusive «place of nowhere» with an interdisciplinary work where architecture and contemporary art will question each other. Therefore, we must understand Utopia in the proper space and time of contemporaneity and contemporary which is, as Giorgio Agamben stressed, «the one which is slapped in the face by the beams of darknesses that comes from his time». Far from the codes and the logics of History and chronology, we will attempt to understand Utopia within a network where philosophy, aesthetic, literature, poetry, psychoanalysis and of course, architecture and plastic arts challenge and question each others. Based on the model of a mind map, where paths that are going nowhere are running into each others, we must see this research as an intimate, attractive and lyrical promenade. A stroll towards motives such as the journey, the disaster/shipwreck, the door, the threshold, the maze, the tower, the tree, the pyramid, the island, the refuge, or the building site, the ruin, the home et cetera. Finally, it is necessary to note that it is from and through works of art that our statement will progress, strenghtened by their creative and lyrical powers which are also set in motion by utopia
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Abrahamson, Michael. "Browsing for Utopia." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230663236.
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Jeanroy, Audrey. "Claude Parent, architecture et expérimentation, 1942-1996 : itinéraire, discours et champ d'action d'un architecte créateur en quête de mouvement." Thesis, Tours, 2016. http://www.theses.fr/2016TOUR2001.
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Consacrer une recherche monographique à un architecte vivant est un exercice d’autant plus ardu que Claude Parent (né en 1923) œuvra à se mettre en scène, autant dans son travail qu’à travers son activité de critique. Le regard historien le plus détaché ne peut être totalement neutre face à des réalisations souvent peu patinées par la mémoire, bien que parfois déjà patrimonialisées. C’est peut-être le moins volontaire des paradoxes que Claude Parent aima à construire autour de sa personne. À travers ses très nombreux écrits, il se construit un personnage de scandale et, pour cela, s’est tôt présenté comme marginalisé par la profession. Il se revendiqua néanmoins « homme de chantier », humble devant la force de l’acte architectural. Cette étude se situe dans le genre consacré de la monographie. Celui-ci est cependant revisité par un croisement avec l’étude des acteurs de la profession d’architecte à l’époque où Claude Parent en débat publiquement, avec l’analyse des structures de maîtrise d’ouvrage et de maîtrise d’œuvre, et avec l’étude des politiques d’urbanisme dans lesquelles l'architecte inscrit ses réalisations autant que ses spéculations théoriques. Cette recherche s’attarde aussi sur la complexité des rapports normatifs que la critique architecturale entretient avec les pratiques projectuelles et constructives. Claude Parent s’étant pensé autant en architecte qu’en homme de médias, sa stature professionnelle et publique composite, ainsi que son regard sur l’époque, non moins complexe, éclairent particulièrement bien les décennies 1950-1990, encore peu étudiées en histoire de l’architectureTo dedicate a monographic research to an alive architect is a difficult exercise, particularly since Claude Parent (born in 1923) himself contributed to his own myth-making, as much in his work as through his activity as a critic. The most detached historian outlook cannot be totally neutral in front of buildings often little skated by memory, although sometimes already considered like « heritage ». It is maybe the least voluntary paradoxe which Claude Parent liked to build around his person. Through his numerous articles, he builds himself a character of scandal and, because of this, was somewhat marginalized by the profession. He claimed to be nevertheless a « man of construction », humble in front of the strength of the architectural act. This study follows the general practice of the monography. It is however revisited through the study of the actors of the architectural profession when Claude Parent debated publicly the subject, with the analysis of the commissioners and architects, and with the study of the urban politics in which the architect places his buildings and his theoretical speculations. This research also questions the complexity of the normative relationships which architectural criticism entertains with design and constructive practices. Claude Parent considers himself like an architect as well as a man of medias. His professional, public and composite stature, as well as his outlook on the period, more complex, shed light on the decades 1950-1990, still little studied in the history of architecture
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Navas, Perrone Maria Gabriela. "Utopía y privatopía en la Vila Olímpica de Barcelona: Los impactos sociales de un barrio de autor." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401430.
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La Vila Olímpica se asume como la Nova Icària del siglo XX y se constituye como la obra inaugural del afamado "modelo Barcelona". Es construida sobre los restos de una importante zona industrial del Poblenou, con la voluntad de regenerar este suelo ocupado históricamente por usos considerados malsanos. Ello refleja la vocación utópica del urbanismo, empeñado en neutralizar la manifestación de conflictos que contradigan el renacer de la ciudad olímpica, mediante la creación artificial de un barrio in vitro, que active la rentabilidad del suelo y canalice el control burgués de la ciudad hacia la fachada marítima. Este es un caso representativo del urbanismo neoliberal, que ha promovido el reemplazo del barrio por proyectos de urbanización. La consecuencia es un conjunto residencial privatizado que ha sido construido a partir de la segregación y el aislamiento.The Olympic Village is presumed as the Nova Icària of the twentieth century and is recognized as the introductory work of the renowned "Barcelona model". It was built on the remains of an important industrial area of Poblenou, with the intention of regenerating this land, which has been historically used for activities that are considered as unhealthy. This practice echoes the utopian vocation of urbanism as follows: it neutralizes the conflict manifestation that contradicts the olympic city’s revival, through the artificial creation of an in vitro neighborhood, which stimulates the land value and channels the bourgeois control of the city to the seaboard. This is a representative case of neoliberal urbanism, which promotes the substitution of the neighborhood by urbanization projects. The result is a privatized residential complex that has been built from segregation and isolation.
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Hack, Keith Martin. "Utopia and Oblivion." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103945.
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This project investigates the possibility of expropriating the industrial infrastructure of a now defunct oil refinery for the bioremediation of toxic soils, restoration of functional riparian ecologies, and reinhabitation of the site by human and non-human life. The context of the project is based on the assumption that such an undertaking is highly unlikely under the current economic and political paradigm. As such it is situated in the distant future, the result of prolonged liberatory struggles over many generations.Master of Architecture
On the shores of the Schuylkill River in Philadelphia, the largest and longest operating oil refinery on the east coast has been recently closed following a massive explosion. The 1300+ acre facility is heavily polluted and contaminated with a multitude of toxic chemicals. This project proposes using the existing refinery infrastructure in conjunction with biological processes to clean the contaminated soil and make the site fit for all types of life again. Riparian ecosystems (those at the edges of waterways) are some of the most important to planetary healthy, and as such are an important area of focus in repairing the damage wrought by large-scale industrial and petrochemical processes. Because these processes of repair and reinhabitation require long periods of time, this project is imagined in a distant future.
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Stacher, Susanne. "Dreamland Alps. L'architecture alpine au prisme du sublime." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV070.
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La thèse interroge la manière dont la notion de sublime influence la définition de l’architecture construite dans les Alpes, depuis la naissance du tourisme jusqu’à aujourd’hui.La première partie traite de la façon dont au début du XVIIIe siècle, les Alpes sont devenues le topos d'une nouvelle perception de la nature qui se cristallise dans la notion de sublime. Entre effroi et fascination, ce terme engage une expérience de la limite. C’est à la recherche de cette sensation que les voyageurs se rendaient dans les Alpes. Peu de temps après des montagnes artificielles ont été construites dans les villes, d'abord en tant que symbole de la liberté pendant la Révolution française, ensuite comme panoramas illusionnistes, jusqu'aux parcs d'attractions du XIXe siècle.Les parties qui suivent analysent de quelle façon le sublime donne corps à différents types d’architectures. Tandis que les grand-hôtels alpins mettaient en scène la vue sur le panorama des montagnes pour contempler le spectacle de la nature sauvage, les architectures cristallines sont l’expression de visions utopiques. Au cours du XIXe siècle, l'intérêt pour la nature sauvage se transfère sur des éléments singuliers de la nature, particulièrement sur le soleil qui devient en tant que thérapie un véritable mythe. Ceci se manifeste dans les divers « mouvements de réforme de vie », tout comme dans les affiches publicitaires des sanatoriums. Les Alpes étaient considérées comme un « paysage thérapeutique », et comme un territoire idéal pour l'éducation. Différentes institutions religieuses et politiques y ont construit des colonies d'enfants, provocant entre eux une véritable lutte d'appropriation idéologique.Mais les Alpes étaient aussi le territoire idéal pour jouir de l'ivresse du mouvement et du vertige depuis que l’accès en était rendu possible par un réseau de plus en plus dense de téléphériques et de refuges, où l'architecture met en scène l'expérience de la limite du sublime. Avec l’émergence du tourisme de masse, ce n'était plus la nature qui était considérée comme sublime, mais la technique qui permettait de la dominer.L’analyse de l’architecture alpine à travers le prisme du sublime amène en conclusion à un état des lieux du tourisme alpin aujourd’hui où est mise en évidence la radicalité des prises de position. À travers ces présentations, les différentes figures du sublime ouvrent ainsi à une réflexion sur les constructions futures dans la continuité d’une pensée visionnaire, où s’articule le rapport entre l’homme et la natureThe thesis questions in which way the sublime has influenced the architecture built in the Alps, from the beginning of tourism until today.The first part shows how the Alps became in the beginning of the 18th century the topos of a new perception of nature, which crystallized in the notion of the sublime. Situated between terror and enthusiasm, this term implies an experience of the limit. Longing for this sensation, the travelers went to the Alps. A little later, mountains were constructed artificially in the cities, first as a symbol for liberty during the French Revolution, then in form of illusionist panorama-paintings, up to factice Swiss sceneries in amusement-parks in the end of the 19th century. This induced a flood of tourists, transforming the Alps into a “Dreamland”, for different kind of dreams.The main part analyses in which way the sublime became the guiding principle for various architectures: While the alpine grand-hotel framed the scenery by panoramic windows in order to contemplate the wilderness outside, crystalline architectures are conceived out of utopic visions, looking for a harmonious world. In the end of the 19th century the focus on the “wild nature” was transferred on to singular elements of nature, especially the sun, which (being considered as a remedy) became a real myth. This becomes evident in the “Live Reform”-groups, as well as in the advertisements for sanatoriums. The Alps were considered as a “therapeutic landscape”, as well as an ideal territory for education. Numerous children-colonies have been built by different religious and political institutions, leading to a fight about the appropriation of the children; the ideological differences became visible in the architectural typologies. But the Alps were also considered as an ideal territory to experiment the sensation of giddiness and speed. This became possible by the increasing net of cable-cars and sport-hotels, where cantilevers emphasized the experience of the limit (inherent to the sublime). With the upcoming mass tourism it was not anymore the wild nature which was considered as sublime, but the technic, which dominates nature.The analysis of the alpine architecture through the prism of the sublime leads to an observation of the actual alpine tourism, emphasizing the radicalism of the various phenomena throughout history. The different figures of the sublime open towards a reflection about the future constructions, in the continuity of a visionary relationship between man and nature
Die Dissertation hinterfragt auf welche Weise das Erhabene die Architektur in den Alpen beeinflusst hat, vom Beginn des Tourismus an bis heute. Im ersten Abschnitt wird aufgezeigt, wie die Alpen zu Beginn des 18. Jahrhunderts zum Topos einer neuartigen Naturbetrachtung wurden, die sich im Begriff des Sublimen (Erhabenen) kristallisierte. Zwischen Schrecken und Faszination angesiedelt, liegt diesem Gefühlszustand eine Grenzerfahrung zugrunde. Auf der Suche nach diesem Gemütszustand, suchten Reisende sehnsuchtsvoll die Welt der Berge auf; diese wurde alsbald in künstlicher Form in den Städten rekonstruiert, vom Freiheitssymbol der Französischen Revolution angefangen, über illusionistische Panoramabilder, bis hin zum Vergnügungspark im 19.Jh. Die daraufhin einsetzende Reiseflut verwandelte die Alpen in ein Land, in dem ganz unterschiedliche Träume projiziert wurden. In den folgenden Kapiteln wird untersucht, inwiefern das Sublime bei den unterschiedlichen Architekturen als Leitmotiv erscheint: Während beim alpinen Grandhotel die Aussicht auf das Panorama inszeniert wurde, um das Spektakel der „wilden Natur“ zu betrachten, standen bei den Kristallarchitekturen utopische-visionäre Gedanken im Vordergrund. Der Fokus auf die wilde Natur verlagerte sich gegen Ende des 19. Jahrhunderts auf einzelne Naturelemente, insbesondere auf die Sonne, die als Heilmittel zum Mythos erhoben wurde. Dies kommt sowohl in den Lebensreformgruppen zum Ausdruck, als auch auf den Werbeplakaten für Sanatorien. Die Alpen fungierten als „therapeutische Landschaft“ und wurden auch als idealer Ort der Erziehung angesehen. Verschiedene religiöse und politische Institution errichteten Kinderkolonien, wobei sich ein wahrer ideologischer „Kampf um das Kind“ entspann, der architektonisch gesehen zu sehr unterschiedlichen Resultaten führte. Die Alpen waren aber auch ein ideales Territorium, um den Rausch der Bewegung auszuleben. Dies wurde durch ein immer dichter werdendes Netz von Seilbahnen, Sporthotels und Hütten ermöglicht, wobei die Grenzerfahrung des Sublimen architektonisch bewusst inszeniert wurde. Mit dem aufkommenden Massentourismus wurde nicht mehr die wilde Natur, sondern die Technik als erhaben angesehen, die es ermöglichte, die Berge zu dominieren. Die Analyse der alpinen Architektur durch das Prisma des Sublimen führt uns zum Schluss zu einer Betrachtung des heutigen alpinen Tourismus im Spiegel des Wandels des Erhabenen-Begriffs, wobei die Radikalität der verschiedenen Phänomene hervorgehoben wird. Die unterschiedlichen Figuren des Erhabenen öffnen somit ein Nachdenken über das zukünftige Bauen in den Alpen, in der Kontinuität einer bestimmen Beziehung zwischen dem Menschen und der Natur
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Abreu, Ivanir Reis Neves. "Convênio escolar: utopia construída." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-13052010-152451/.
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Esta dissertação tem como objeto de estudo a análise de um conjunto de escolas construído entre os anos de 1949 e 1953, quando vigorou o 2º Convênio Escolar, acordo entre Estado e Município, com a finalidade de zerar, até as comemorações do IV Centenário, o grave defict de salas de aula na cidade de São Paulo. A equipe de profissionais, contratados para a concepção e desenvolvimento dos projetos, dirigida pelo arquiteto Hélio de Queiroz Duarte, era composta pelos arquitetos Eduardo Corona e Roberto Goulart Tibau, cariocas formados pela Escola Nacional de Belas Artes e pelos paulistas Oswaldo Côrrea Gonçalves, engenheiroarquiteto, e Ernest Robert Carvalho Mange, engenheiro, ambos formados pela Escola Politécnica da Universidade de São Paulo. O trabalho dessa equipe resultou na construção de 52 edifícios escolares aos quais foram aplicados, em seus programas arquitetônicos, os conceitos de uma escola aberta à comunidade, conforme apregoava o educador Anísio Teixeira, com quem o arquiteto Hélio Duarte trabalhou, na Bahia, no planejamento de uma rede de escolas públicas voltada à inclusão das crianças carentes, que não tinham acesso à educação pública. Esse convívio entre o educador e o arquiteto traduziu-se em sólidos conceitos pedagógicos, aplicados na concepção dos projetos arquitetônicos do convênio escolar: arquitetura e pedagogia, a partir dos princípios utópicos da arquitetura moderna e das idéias libertadoras da escola nova resultaram na unidade que caracterizou esse conjunto de escolas. O meu objetivo em pesquisar esse conjunto de obras está na possibilidade de reconstruir a história da moderna arquitetura brasileira através do viés da educação e, para tanto, traçar uma linha histórica, objetivando localizar o início da ligação entre os pedagogos escolanovistas e a arquitetura. No início dos anos 30, em plena era Vargas, assistimos à construção de um plano visando ao desenvolvimento do país, a partir do estabelecimento de um parque industrial nacional. Esse movimento provocou profundas mudanças na estrutura social brasileira. A educação, através do movimento escolanovista, passou a ser indutora dessa transformação, ao lutar pelo direito de todas as crianças de freqüentarem uma escola pública, além de apresentar um novo modelo pedagógico decorrente dessa nova postura que levou à necessidade de um novo espaço físico para abrigar essa escola renovada. O plano de desenvolvimento nacional, no plano cultural, uniu políticos e intelectuais na construção de uma identidade nacional, e a arquitetura, enquanto expressão de um tempo, apropriou-se dos conceitos racionalistas da arquitetura moderna internacional que, nas mãos de jovens arquitetos, pôde encontrar na arquitetura escolar um rico campo de experimentação. O cenário desse movimento é a cidade de São Paulo que, em meados da década de 40, já havia se transformado em metrópole internacional e revelava, em seu espaço urbano, a contradição entre a riqueza e a pobreza, na divisão entre centro e periferia. As escolas do convênio escolar vieram atender aos bairros que tiveram, na escola pública, o primeiro sinal da presença de um Estado que, saído da ditadura de Getúlio Vargas, democratizava-se.This thesis focuses on the analysis of a set of schools built between 1949 and 1953 in São Paulo, during the 2nd School Agreement (2º Convênio Escolar), a contract between state and municipality authorities ,which its main purpose was to extirpate the serious lack of classrooms,until the Celebration of the 400th Anniversary of the city of São Paulo. The team engaged in the conception and development of the projects was coordinated by the architect Hélio de Queiroz Duarte and composed by two architects from Rio de Janeiro, Eduardo Corona and Roberto Goulart Tibau, both graduated at Escola Nacional de Belas Artes, Oswaldo Correa Gonçalves, engineerarchitect and Ernest Robert Carvalho Mange, engineer, both graduated at Escola Politécnica from University of São Paulo. The result of their work are 52 schools which have been built with a specific architectural programme, concepts of a school opened to the community, according to Anísio Teixeiras beliefs, educator, with whom Hélio Duarte has worked in Bahia, developing a public school planning to include deprived children and give them opportunity to attend a school. This exchange of ideas between architect and educator resulted in solid pedagogic concepts, and were applied on the projects of the Convênio Escolar ,architecture and pedagogy, beginning with the idealistic principles from modern architecture and the renewal ideas from New School Movement in Brazil (Escola Nova), coming from the international movement Education Act, resulted in an identity which characterized this set of schools. The objective of this research is to create the possibility to recognize the history of Brazilian Modern Architecture from the educational perspective and design a time scale to locate the beginning between pedagogues from Escola Nova movement and architecture. In the beginning of 1930s, during Getúlio Vargas era,we watched the construction of a national development plan, from the establishment of a national industrial park.This movement caused deep changes into social Brazilian structure. Education, through Escola Nova movement, became the guide line of this transformation, fighting for the childrens right to attend public school, besides presenting a new pedagogical model structured from this new attitude which claimed for a new space to reflect this renewal model of school. The national development plan, at the cultural sphere, got together politicians and intelectuals to build a national identity, and architecture, meaning here the expression of a time, appropriated the rationalism of modern international architecture that, in the hands of young architects could find a rich field of experiment. São Paulo is the scene of this movement, that in the mid of 1940s, was already an international metropolis and revealed in its urban space, the contradiction between richness and poorness, between center and outskirts. The schools of the Convênio Escolar came to serve the districts which have, in the public school, the first sign of the presence of a State Government that, coming from the dictatorship of Getulio Vargas, start a new democracy phase.
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Ferreira, J. M. Simões. "Visões de utopia-as teorias de arquitectura e as utopias políticas nos alvores da Idade Moderna, Alberti, Filarete, Colonna, da Vinci, Morus, Campanella, Bacon, Rabelais." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Filosofia, 2001. http://dited.bn.pt:80/30498.
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Akbarzadeh, Masoud S. M. Massachusetts Institute of Technology. "Hydropower cities : a new candidate for eco-utopia." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/65539.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2011.Cataloged from PDF version of thesis.
Includes bibliographical references (p. [83]).
The increasing need for water due to incessant growth of population of the world makes it imperative to build water reservoirs in different location of the world. Water reservoirs most of the time are used as a mean to generate energy. Hydropower energy is one of most efficient and renewable ways of energy production which has negative other implications on human and natural environments. Design and construction of large scale dams provide regional water and global energy support for communities while deprave some people from their home lands and number of environmental effects. In this thesis, the new paradigm of planning dams and related infrastructures are investigated to not only provide the water and energy for the local people, but to lessen the environmental effects of such infrastructures. In each step through this thesis an architectural proposition would be provided and its flaws and effects would be considered to provide better environment for its inhabitants and natural eco system. It is worth noting that the propositions in this architectural design research are schematic and need further consideration and investigation by professionals in related areas. At the end, a specific site in Senegal River valley would be chosen for the application of the last scheme with consideration of the local characteristics of the site and its requirements.
by Masoud Akbarzadeh.
M.Arch.
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Latusek, Matthew Alexander. "Anticipations of Utopia : discovering an architecture for post-war Britain." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/28683.
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This thesis responds to a growing appreciation for the richness and ambiguity of mid-century architectural culture in Britain. Initially focussing on the enthusiasm for a science-based approach among architects and town planners, the thesis identifies – in the diverse debates of the Second World War and immediate post-war years – an architecture that achieves significantly more than an abstract, inhuman, or totalising utopianism. Instead, it will expose affinities between the enthusiastic pursuit of objective solutions in architecture and planning and the drastically compromised realities, both of the historic city in ruins, and of certain episodes in the history of architecture that enjoyed popularity after the war. The first chapter introduces the problem of utopianism, a concept that has often accompanied critical studies of modern architecture. An appraisal of the utopian tradition highlights the frequent vagueness and ahistoricism of the term, leaving room for an appreciation of utopian speculation as dynamically historical, with the potential to decisively enact change. The second chapter identifies these characteristics in the mid-century enthusiasm for scientific planning, an approach that used quantifiable methods of research in order to legitimise an emerging town planning profession, which had gained added impetus from the transformative social impact of the Second World War. Underpinned by the civic and regional survey, this approach advanced the potential of technocratic management to ‘solve’ the problems of social organisation and physical planning. However, an analysis of specific attempts to speculatively develop the necessary planning machinery indicates a far richer range of concerns. The third chapter shows that the experience of wartime bombing dramatically changed the aspect of Britain’s towns and cities, with the resulting ruins presenting a visceral challenge to the idealising promise of science. But this seeming conflict obscures the relationship between ruination and reconstruction. For the anxiety and exhilaration of destruction was, in fact, embedded in the practice of rebuilding, both in the memories of the builders and of the public at large. Furthermore, an examination of contemporary architectural writing on the subject of wartime ruins displays an attempt to aestheticise and appropriate the ruin’s effects, while simultaneously maintaining an outward attitude of detachment. The final chapter develops this discussion, moving from the ruins of the historic city to investigate the mid-century adoption of architectural history as a justification for design. It will show that while scientific research seemed to promise objective solutions, the study of history received a similar authority after the war. Consequently, the historian could assume a status analogous to that of the planning expert: a fact evidenced by the activities of Rudolf Wittkower and Nikolaus Pevsner. Just as the utopian potential of science was conditioned by its contingency, this chapter will demonstrate that the appeal to history would also inevitably be limited to partial solutions.
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Moulin, Fabrice. "Embellir, bâtir, demeurer. Représentations de l’architecture et du geste architectural dans la littérature de la deuxième moitié du dix-huitième siècle en France (1748-1788)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040201.
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A partir des années 1740, sous l’action de plusieurs phénomènes comme les découvertes archéologiques, les grands travaux de Louis XV ou encore la crise des Académies, le monde de l’architecture entre dans une période de profondes mutations. Les questions d’architecture, désormais au cœur des enjeux culturels, nourrissent aussi en profondeur l’imaginaire littéraire. Nous explorons les différentes formes et figures de cet imaginaire, avec le souci d’envisager le fait architectural dans toutes ses dimensions. Comme discipline, l’architecture connaît une crise sans précédent. Le savoir architectural quitte les cercles académiques pour se diffuser largement dans la presse. Celle-ci accueille des débats nourris sur les embellissements de la capitale dont s’inspire presque directement la littérature utopique. Mais l’architecture engage aussi une pratique, un geste de construction, dont la littérature exploite la valeur symbolique. Le motif du bâti joue ainsi un rôle essentiel dans la représentation imaginaire des nouveaux rapports de l’homme à la nature – pont, ruine ou cabane figurent tantôt une lutte de l’homme dans la nature, tantôt leur fusion harmonieuse – et à la société : le geste de construire son logement engage désormais les valeurs fondamentales de l’individu moderne. Enfin, comme espace – espace pratiqué, habité – l’architecture s’impose désormais comme une composante décisive de l’imaginaire romanesque. De Rousseau à Sade, les architectures intérieures du roman, qu’elles soient vertueuses ou libertines, ne se réduisent plus à de simples décors : elles sont indissociables des projets du personnage ou des fantasmes du lecteurStarting in the 1740's, influenced by various factors such as archaeological discoveries, the "grands travaux" of Louis XV, and the "Academies crisis", the world of architecture entered a period of deep transformation. Questions of architecture, then at the heart of cultural debate, also nourished the literary imagination. This work explores the forms and figures of this imagination, as it relates to architecture in all of its dimensions. As a field, architecture wasexperiencing an unprecedented crisis. Architectural knowledge was shifting from academia to the general press. The press hosted substantial debates on the embellishments of the capital, Paris, which inspired utopian literature. But there was also a practical dimension to architecture, the act of construction, and literature exploited the symbolic value of this. This element also played an essential role in the imaginary representation of the new relationships between man and nature - bridges, ruins,or huts represented man's struggle againstnature or their harmonious fusion - and man and society: building one's home brought out the core values of the modern individual. Finally, as a space, worked on and lived in, architecture asserted itself as a critical component of literary imagination. From Rousseau to Sade, the internal architectures of the novel, virtuous or libertine, became more than just simple decor - they were inseparable from the character's actions or the reader's fantasies
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Wilson, Robin Murdoch. "Image, text, architecture : sites of utopic critique." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1459113/.
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Mixon, Dawn Hensley. "Imperfect utopia : a proposal for a political architecture in the postmodern era." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/23160.
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Minosh, Peter. "Moderate utopias : the reconstruction of urban space and modernist principles in postwar France." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39311.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 121-133).
This thesis explores the implementation of the American Marshall Plan in France and its precipitation of structural changes within the realms of economics, politics, and cultural subjectivity, studying their manifestations in both the built work of the postwar reconstruction and its concurrent discourse on architecture and urbanism. In the turn from the interwar classical to the postwar Keynesian economy, there followed a cultural transformation that resulted in the social welfare state. The consequence is what Deleuze would describe as a shift from mechanisms of discipline to societies of control, where the mass subject controlled by centralized agents would transform to the active subject of a middle class physically operating of the mechanisms of agency that control them, this thesis studies the architectural manifestation of this transformation. Through the discursive projects set out in the journals I'Architecture d'aujourd'hui and Techniues et Architecture, as well as through a study of Orleans, Le Havre, and Maubeuge - reconstruction cities whose architects encompassed a range of formal styles - there was a development in postwar reconstruction architecture that ran parallel to that of the modernist project; one that ultimately displaced the authority of CIAM and precipitated a rejection of architectural modernism with the emergence of Team X thinking.
(cont.) This discourse intends to offset the standard historiography of postwar architecture as a modernist aesthetic lineage, employing instead an exploration of the motivation of an economic agency in the development of architectural form. While the modernist project struggled to find its place within the postwar reconstruction, cities were being built that employed new principles of construction and organization on a vast scale. These reconstruction cities, almost wholly outside of the modernist influence would mold architecture to the hegemonic organizational space of the postwar, as well as permanently imbricate architecture into new modes of capitalist production and social regulation.
by Peter Minosh.
S.M.
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Fernandes, Miguel João Mendes do Amaral Santiago. "As cidades e o desejo-metamorfoses da utopia no final do séc. XX." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1998. http://dited.bn.pt:80/30332.
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Costa, Sandra Cristina de Jesus Vaz. "A Cidade Universitária de Coimbra-um projecto de modernização cultural : utopia e realidade." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1998. http://dited.bn.pt:80/30354.
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Soydemir, Gokcek Esin. "Modern Urban Utopias And The Case Of Dubai." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12613358/index.pdf.
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Is the concept of the urban utopia now defunct? This is a study of the modern urban utopias of the late 20th century, investigated their recent qualities in respect to capitalist mode of production. Accordingly, a recent example, that of Dubai, will be studied and its rapid growth over the last 20 years will be questioned. The primary objective of this thesis is to provide an understanding of how and to what extent flexible accumulation requires a spatial fix, in particular in new geographies, and mobilizes urban utopias for its own sake. The research will rely on the premise that modern urban utopias are mere reflections of capitalist ideologies.
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Boeri, Elisa. "Architecture, théorie et représentation au temps de la Révolution française : les dessins de l'architecture civile de Jean-Jacques Lequeu (1757-1826) à la Bibliothèque nationale de France." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H041.
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Le travail de recherche vise à encadrer la figure de Lequeu dans le paysage culturel et architectural de la Révolution française, en proposant une prise de distance critique et une mise à part des célèbres dessins des Figures lascives, à lesquels la figure de l'architecte a été parfois grossièrement éclairée. Au contraire, notre analyse se concentre sur ce qui constitue le cœur de son œuvre graphique: les planches numérotées de l'Architecture civile, que Lequeu rédige à partir de 1778, et qui sont aujourd'hui, conservées au Cabinet des estampes de la Bibliothèque nationale de France. Visionnaire dans sa tentative de créer une nouvelle conception du dessin architectural, qu'il élabore conjointement au caractère de son architecture, les plus amères des contradictions du XVIIIe siècle se concentrent en lui inévitablement attiré par le moderne, il en a systématiquement horreur et tourne son regard vers un passé idéalisé, rêvé comme un port salvateur mais insaisissable. C'est dans cette juxtaposition d'éléments qui de la littérature chevaleresque aboutit aux traités théorico-pratiques de la Renaissance, redécouvre les mouvements humains et entre en contact, pour la première fois avec l’introspection psychologique, décrit donc le rôle de Lequeu, dans l'histoire de l'architecture européenne. Les planches de !"Architecture civile interprètent à la fois les angoisses d'un artiste aux prises avec l'ancien, et la modernité de la culture technique française du XVIIIe siècleThe research aims to explore the figure of Lequeu in the cultural and architectural panorama of the French Revolution, proposing a critical distance from the famous drawings named Figures lascives. Our analysis focused on what constitutes the core of his graphic work: the numbered drawings of Architecture Civile, that Lequeu drafts from 1778 and now conserved at the Cabinet des estampes of Bibliothèque nationale de France (Paris). Visionary in its attempt to create a new conception of architectural drawing, Lequeu developed the character of its architecture, where the most of eighteenth century's contradictions are concentrated. lnevitably attracted to the modern, it has systematically horror oh that, and turns his eyes to an idealized past, dreamed but elusive port. lt is in this juxtaposition of elements, which of place of Lequeu: no architect before him has tried such a great mix of different interests and skills. The link with the art of his time, who discovers, for the first lime, the psychological introspection, describes the role of Lequeu in the history of European architecture. The drawings of Architecture Civile interpret both the anguish of an artist struggling with the old, and the modernity of the French technical culture of the eighteenth century
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Guimarães, Humberto Pio. "Rodrigo Brotero Lefèvre: a construção da utopia." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-29012007-142309/.
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Panorama da produção de Rodrigo Brotero Lefèvre de 1960 a 1984 como arquiteto e professor universitário dentro do quadro político-cultural do Brasil à época. Aponta o imbricamento entre teoria e prática que lhe é característica, por meio de uma consciência do planejamento que transpassa escritos e obras. Recupera questões perenes de seu trabalho profissional como assalariado e autônomo: coletividade, técnica, nacional e futuro. Aborda os vínculos de sua produção com a corrente paulista da arquitetura moderna no âmbito da ideologia e da linguagem, a partir de uma crítica radical filiada à corrente interpretativa de intelectuais brasileiros marxistas, nos termos da dualidade entre arcaico e moderno. Destaca finalmente o comprometimento de suas idéias com usuários e produtores da arquitetura, na busca de uma síntese entre utopia e realidade.This dissertation aims at giving a panorama of Rodrigo Brotero Lefèvre´s production from 1960 to 1984 both as an architect and a university lecturer, considering the political and cultural scenario in Brazil over that period. It shows the interweaving of theory and practice typical of this author, through a concern about and control of planning, which pervades his writings and works. It also raises the discussion of perennial issues related to his professional work as a wage earner and a self-employed man: collectivity, technique, national issues and the future. It focuses on the connection of his production with the modern architecture stream in the state of São Paulo as regards ideology and language, based upon a radical criticism associated with the interpretative tendency developed by brazilian marxist intellectuals, in the sense of the duality between archaism and modernity. It eventually stresses the commitment of his ideas to architecture users and producers, seeking a synthesis of utopia and reality.
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Walker-Brown, DaMario X. "Cotton in the Crevices: Remnants of a Black Utopia." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1617107572497883.
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Gransotto, Larissa Rodrigues. "Cabo Polônio : uma viagem através das utopias urbanas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/18197.
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O presente trabalho aborda a temática da utopia pelo viés do urbano. Utilizando-se do texto no formato de uma viagem, é estabelecido um roteiro que se divide em três momentos principais: a partida, a chegada e o retorno. Parte-se da revisita a alguns dos principais utopistas da história ocidental; chega-se a um novo espaço urbano localizado além das nossas fronteiras - Cabo Polônio - e retorna-se para fazerem-se as relações entre esse inusitado destino e as utopias, seus contextos, épocas e ideários. A pesquisa propõe utilizar-se do pensamento utópico como instrumento de compreensão, reflexão e abordagem para as novas cidades - reais ou ideais.This work concerns the theme of the utopia through urban bias. By using the text in the form of a trip, is there a roadmap that is divided into three main points: the departure, arrival and return. It starts revisiting some of the major Western utopians of history; it arrives to a new urban area located beyond our borders - Cabo Polonio - and returns it to make the relationship between this unusual destination and utopias, their contexts, times and ideas. The research proposes to use the utopian thinking as a tool for understanding, reflection and approach to the new cities - real or ideal.
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Gonçalves, Ricardo Felipe. "Utopias, ficções e realidades na metrópole pós-industrial." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-15102014-162051/.
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Ao contrário dos valores explícitos e das motivações pragmáticas da produção arquitetônica, as propostas utópicas envolvem um universo mais introspectivo e imaginário que subverte a realidade na qual são fabricadas, em resposta a sentimentos relevantes que temos diante das cidades que habitamos, muitas vezes conectadas a características espaciais de uma maneira bastante precisa. Estas conexões, embora imaginárias, contribuem para a evolução das ideias que podem iluminar os caminhos da prática arquitetônica. Essas utopias se reverberam ao longo do tempo e sua herança pode ser identificada e assimilada dentro do processo crítico de discussão e concepção da arquitetura, seja de uma maneira visualmente explícita ou conceitualmente sutil. O reconhecimento das arquiteturas utópicas no momento atual constitui um enfoque relevante, já que a cidade contemporânea se apresenta como um cenário de complexas relações sociais heterogêneas, onde os diferentes valores culturais se justapõem no espaço urbano, criando uma multiplicidade de expectativas sobre o mesmo. Este trabalho se concentrará na análise de projetos-manifesto: propostas utópicas, provocativas e especulativas cujas imagens comunicam um universo axiológico intrínseco como reação ao seu contexto histórico e urbano, atuando na construção da ideia de futuro da cidade ou de realidades urbanas alternativas. Na primeira parte, a presente pesquisa tem como objetivo reconhecer as utopias urbanas concebidas na modernidade e as distopias reveladas pelo universo cinematográfico, analisando seus aspectos estéticos, conceituais e metodológicos que refletem os valores que são cultuados a partir da metrópole industrial, investigando novos paradigmas e conceitos que contribuem para a reflexão da arquitetura e da cidade. A segunda parte do trabalho tem o intuito de investigar a continuidade ou ruptura desses valores na pós-modernidade e também em projetos contemporâneos, compreendendo a evolução do tema da utopia vinculado à prática arquitetônica na sociedade pós-industrial.Unlike the explicit values and pragmatic motivations of architectural production , utopian proposals involve a more introspective and imaginary universe that subverts the reality in which they were manufactured in response to relevant feelings we have on the cities they inhabit, often connected to quite accurate spatial characteristics. These connections, though imaginary, contribute to the evolution of ideas that can brighten the paths of architectural practice. These utopias reverberate themselves over time and their heritage can be identified and assimilated within the critical process of discussion and design of architecture, either in a visually explicit or a conceptually subtle manner. The recognition of utopian architectures at the present time is a relevant approach, since the contemporary city is presented as a scenario of complex heterogeneous social relations, where different cultural values are juxtaposed in urban space, creating a multiplicity of expectations on it. This work will focus on the analysis of manifesto-projects: utopian, provocative and speculative proposals whose images communicate an axiological universe as an intrinsic reaction to its historical and urban context , working in the construction of the idea of the city\'s urban future or alternative realities . On the first part, this research aims to recognize the urban utopias conceived in modernity and dystopias revealed in the movie universe by analyzing their aesthetic, conceptual and methodological aspects that reflect the values that are worshiped, starting from the industrial metropolis, investigating new paradigms and concepts that contribute to the reflection of the architecture and the city. The second part of the work aims to investigate the continuity or rupture of these values in post modernity and also in contemporary designs, including the evolution of the theme of utopia linked to architectural practice in the post - industrial society.
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Shapins, Jesse Moss. "Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:11021.
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This dissertation theorizes the genre of the urban database documentary, a mode of media art practice that uses structural systems to uncover new perspectives on the lived experience of place. While particularly prominent in recent decades, I argue that the genre of the urban database documentary arises at the turn of the 20th century in response to the rise of the metropolis and the widespread adoption of new media technologies such as photography, cinema, and radio. This was a time when the modern city engendered significant disorientation in its inhabitants, dramatically expanding horizontally and vertically. The rampant pace of technological development at this time also spawned feelings of dehumanization and the loss of connection to embodied experience. The urban database documentary emerges as a symptomatic response to the period's new cultural conditions, meeting a collective need to create order from vast quantities of information and re-frame perception of daily experience. The design of structural systems became a creative method for simultaneously addressing these vast new quantities of information, while attending to the particularities of individual experience. For media artists, building a database into the aesthetic design of a work itself offers an avenue for creatively documenting the radical multiplicity of urbanized environments, preserving attention to the sensory experience of details while aspiring to a legible whole. Crucially, I argue that the design of these systems is a vital form of authorial agency. By reading these artists' work in relation to contemporary practice, I aim to make transparent the underlying, non-technical ambitions that fuel this distinctive mode of media art practice.
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Huck, Martin Keith. "The City of Aetheria." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/47494.
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Winston Churchill said "We shape our buildings; thereafter they shape us." And this holds true for our cities as well. The intent of this thesis is to develop an understanding of the origins of the city, historic theories of planning, Utopian proposals, the current state of the city, and what the future the city may hold.
The City of Aetheria is a world created via poetic imagination, the sublime product of mental activity; as a study intent is to discover the fundamental principles of the city, making explicit the nature and significance of fundamental concepts of urban design theories and utopian ideals while demonstrating the elements of urban form and the effects of urban process through history. Incorporating historical archetypes and typologies of architectural form; the design of the City of Aetheria was an investigational tool to study the Image, Form and Elements of the city.Master of Architecture
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Cole, Alexandra. "The Unconventional Center." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1617104988049521.
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Amar, Sylvia. "Laboratoires d'architectures écotopiques : des communautés d'hier aux écovillages d'aujourd'hui : États-Unis, Europe 1965-2015." Thesis, Aix-Marseille, 2020. http://www.theses.fr/2020AIXM0201.
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Depuis le XVIIe siècle, les initiatives communautaires déploient leur quête utopique d’un monde meilleur, intégrant dans ce projet une dimension écologique et éducative fondamentale. Une historiographie croisée utopie-écologie permet de retracer une continuité de ces préoccupations, dans les communautés des années 1960-1970 comme dans les écovillages d’aujourd’hui, dont un échantillon de huit terrains, situés aux États-Unis et en Europe. Cette approche montre que certaines initiatives communautaires s'appuient sur l’architecture, médium d'expression de leur projet socio-spatial. Sur l’ensemble de la période étudiée (1965-2015), cette dynamique permet de les qualifier de laboratoires d’architectures écotopiques. Les communautés et écovillages peuvent-ils — même à leur très petite échelle décentrée et rurale — contribuer à définir des modèles de société permettant de mieux « habiter la Terre » ? La recherche propose d’explorer cette problématique à travers deux hypothèses. D’une part, les productions architecturales des communautés et des écovillages relèveraient d’une préhension de l’espace combinant étroitement idéologie et territoire d’implantation, créant ainsi un courant alternatif, guidé par une volonté de construire de façon écologique. D’autre part, cet héritage architectural serait pris en tension entre rupture et tradition, et s’incarnerait dans des réalisations hybrides. Le concept de laboratoire d’architecture est avancé à la fois comme une grille de lecture théorique capable d’unifier ces expériences hétérogènes, et comme un dispositif méthodologique à même d’activer le potentiel d’une utopie réalisable, vers sa réalisation effective et perfectibleSince the seventeenth century, communitarian initiatives have been deploying their utopian quest for a better world, integrating a fundamental ecological and educational dimension into this project. A cross-historiography of utopia and ecology allows us to trace a continuity of these concerns, in the communities of the 1960s and 1970s as well as in today's ecovillages, including a sample of eight sites in the United States and Europe. This approach shows that some communitarian initiatives rely on architecture as the medium for expressing their socio-spatial project. Over the entire period studied (1965-2015), this dynamic enables them to be described as laboratories of ecotopic architecture. Could communities and ecovillages — even on their very small, decentralized and rural scale — contribute to defining models of society that allow for a better « living the Earth »? The research proposes to explore this issue through two hypotheses. On the one hand, the architectural productions of communities and ecovillages would be based on a spatial approach that closely combines ideology and territory, creating an alternative trend, guided by a desire to build in an ecological way. On the other hand, this architectural heritage would be caught in a tension between rupture and tradition, and would be embodied in hybrid achievements. The concept of laboratory of architecture is put forward both as a theoretical reading-grid unifying these heterogeneous experiences, and as a methodological device activating the potential of a realizable utopia, towards its effective and perfectible realization
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Mandoul, Thierry. "L' «Histoire de l'architecture » d'Auguste Choisy : entre raison et utopie." Paris 8, 2004. http://www.theses.fr/2004PA083577.
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L'objet et le sujet d'étude de ce travail est l'ouvrage de l'ingénieur Auguste Choisy, « Histoire de l'architecture », publié en 1899. La thèse interroge sa conception de l'histoire et démontre la construction scientifique du récit historique. Elle établit dans quelle mesure l' « Histoire » a été soumise à l'épistémè de son siècle, portée par les sciences naturelles et celles de l'ingénieur, traversée par des utopies sociales et politiques. Le statut et l'usage de la représentation graphique constituent un autre point d'étude. La thèse y explore une pensée au travail, démontrant que rationalité et imaginaire sont indissociablement associés. Elle s'attache à définir les éléments exemplaires qui forment à la fois la trame de l'interprétation historique et les règles de la production architecturale. Enfin, la thèse inscrit l' « Histoire de l'architecture » dans une histoire du travail en général et analyse dans quelle mesure l'œuvre de l'ingénieur peut s'interpréter comme une utopie technicienne et saint-simonienneThe study of this work is the engineer Auguste Choisy's book, "Histoire de l'architecture", published in 1899. The dissertation examines the book's conception of history, revealing the scientific construction underlying the historical narrative. It discusses the manner in which the "Histoire" was subject to the episteme of its time, influenced by engineering and natural sciences as well as social and political utopias. The study also focuses on the status and the use of graphic representation, exploring a working thought process in which the rational and the imaginary prove to be inseparably associated. It aims to define the significant elements that form both the rules of architectural production and the structure of the historical interpretation itself. Finally, it situates "Histoire de l'architecture" within a general history of labour and considers to what extent the book may be qualified as a technical and Saint-Simonian utopia
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Feliciano, Ana Marta das Neves Santos. "Habitação e utopia nos anos sessenta-as propostas do Grupo Archigram no contexto de uma década de rupturas." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 2001. http://dited.bn.pt:80/29399.
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Green, Nigel. "Photography and the representation of modernist architectural space : from the melancholy fragment to the colour of utopia." Thesis, University of Kent, 2007. http://www.research.ucreative.ac.uk/id/eprint/1060.
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The questions that this project poses are centred on an examination of photography's relationship to modernist architectural space. Polarising the melancholic and the utopian, the definition of photography is extended to include its manifestation across a number of diverse sites and processes. What is the connection between the processes and technology of photography and its representation of modernist space? How can these relationships inform and articulate a photographic practice? This thesis comprises five key areas of investigation, with each theoretical chapter being followed by a complementary sequence of photographic images. The first section considers the process of `fragmentation' in relation to a body of photographs which I have termed `fragments'. These images reveal the aspirational or utopian content of modernist architecture as a condition of loss or melancholy. The second section develops the notion of the `fragment' in relation to `allegory', which I argue, opens photography to metaphoric interpretation thus taking on the duality of meaning. The third section uses W. G. Sebald's novel Austerlitz and Kracauer's work on history, to locate this duality within Husserl's Lebenswelt. The fourth section shifts the emphasis of inquiry towards an examination of how the utopian emerges within specific aspects of the photo-reprographic process, such as the error of misregistration in colour printing. This forms the basis for a development of the practice into the field of the photographic representation of colour. The fifth section looks at how colour has been added to the monochromatic image in a series of postcards of modernist architecture from the 1930's thus suggesting a site of utopian investment With reference to Kristeva and Benjamin I develop the notion of colour as an excess of meaning indicative of utopian aspiration. The conclusion of the project is firmly located in the practice outcome and a body of work, which I have termed `constructed images'. Representing a convergence of the five themes, these reveal the ability of photography to uniquely articulate the utopian-melancholy polarity, a transformative process, intervening into architectural space to indicate new ways of thinking about it.
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Van, Acker Wouter. "Universalism as Utopia: A Historical Study of the Schemes and Schemas of Paul Otlet (1868-1944)." Doctoral thesis, Ghent University, Ghent, Belgium, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/241589.
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This doctoral dissertation is an intellectual biography which discusses the projects and utopian visions of Paul Otlet (1868-1944). Paul Otlet formulated the concept of ‘documentation’, a field incorporating both study and practice that evolved out of bibliography before developing into information science. He was also a sociologist, an internationalist and indefatigable promoter of his conception of ‘universalism’ or ‘mondialism’, and of the Mundaneum and the Cité Mondiale. The major source that is used to throw new light on Otlet as a utopian thinker is an impressive collection of thousands of unpublished schemas. By means of an historical analysis of his schemas and writings, this thesis aims to identify the fundamental universalistic character of his utopian vision of knowledge organization and international organization. Universalism was a phenomenon incorporating complex personal ideals and social objectives, assuming different meanings in the fields of science, culture and politics, and reflecting the historical circumstances and undertakings of the time. By exploring how Paul Otlet and others dealt with the issue, this dissertation aims to contribute to the history of the idea of ‘universalism’.info:eu-repo/semantics/nonPublished
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Mehrin, Nazanin. "The Collective : A Study for Alternative Ways of Living." Thesis, KTH, Stadsbyggnad, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-124397.
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This thesis project investigates different ways of collective living. It offers a different perspective towards the human-environment relationship and the ways in which we inhabit urban environments. The goal is to establish a better understanding about the concept of collectivity and community in urban life by looking at carefully selected examples.
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BRAKEFIELD, KATHLEEN HEATHER. "PROMOTING COMMUNITY: AN ARTISTS' RESIDENCE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1114105112.
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Miyada, Paulo Kiyoshi Abreu. "Supersuperfícies: New Babylon (Constant Nieuwenhuys e Internacional Situacionista, 1958-74) e Gli Atti Fondamentali (Superstudio, 1972-73). O pensamento utópico como parte da cultura arquitetônica no pós-guerra europeu." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-05072013-114121/.
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A presente dissertação tem como objeto o conteúdo utópico de dois projetos produzidos entre 1958 e 1974: New Babylon (Constant Nieuwenhuys e Internacional Situacionista, 1956-74) e Gli Atti Fondamentali (Superstudio, 1972-73). A investigação considera o debate político e cultural da época para organizar um quadro de comparativo. Aproximados e colocados à luz da discussão contemporânea sobre utopia, esses projetos revelam-se como iniciativas especulativas e críticas, estruturadas a partir da proposição de modelos espaciais e sociais. Tratam-se de ideais urbanos que respondem a transformações fundamentais no paradigma da urbanização no pós-guerra europeu. Ambos compartilham almejam um modelo urbano no qual infraestruturas automatizadas proveem recursos abundantes à uma sociedade liberada do trabalho e da propriedade privada.The object of the present dissertation is the utopian content of two projects developed from 1958 to 1974: New Babylon (Constant Nieuwenhuys and Situationist Internacional, 1956-74) and Gli Atti Fondamentali (Superstudio, 1972-73). This research considers the cultural and political debate contemporary to that time as a parameter for organizing a comparative scheme. To the light of a contemporary discussion of utopia, these projects reveal themselves as critical and speculative enterprises based on proposing spatial and social models for the future. They consist of urban ideals that relate with fundamental changes of the urbanization paradigm during the post-war years. Both yearn for an urban model in which automate infrastructures homogeneously provide abundant resources to a society that is free from both labor and private property.
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Ribeiro, Diego Mauro Muniz. "Internacional Situacionista e Superstudio: arquitetura e utopia nos anos 1960-1970." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-20122016-144850/.
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Esta dissertação se propõe a investigar, no campo da arquitetura e urbanismo, os empregos do termo \"utopia\" num período em que este foi especialmente movente e dissensual: o final dos anos 1950 até o início dos anos 1970, no contexto europeu. Elegeu-se, para estudo de caso, as proposições da Internacional Situacionista e do Superstudio. Acompanharemos de forma mais detida os escritos situacionistas desde a fundação do movimento (1957) até cerca de 1961, período em que as discussões do grupo estão voltadas para a arquitetura, o urbanismo e a arte. No caso de Superstudio, priorizaremos a sua produção desde o seu surgimento (dezembro de 1966) até 1973, que é quando o interesse do grupo migra do tema da utopia para o estudo de modos de vida vernaculares e não-urbanos. A eleição destes dois grupos diz respeito à forma bastante distinta com que cada um lida com a questão das utopias, ao mesmo tempo que o lastro marxista comum nos permite traçar uma série de comparações, marcando as suas aproximações e divergênciasThis dissertation proposes to investigate, in the field of architecture and urbanism, the The term \"utopia\" in a period in which it was especially Dissensual: the late 1950s to the early 1970s in the European context. The case of the Situationist International and the Superstudio. We will more closely follow the situationist writings from the Foundation of the movement (1957) until about 1961, when discussions of the Focus on architecture, urbanism and art. In the case of Superstudio, We will prioritize its production from its inception (December 1966) until 1973, Which is when the interest of the group migrates from the theme of utopia to the study of modes of Vernacular and non-urban life. The election of these two groups concerns the Quite different from what each one deals with the question of utopias, at the same time That the common Marxist ballast allows us to draw a series of comparisons, marking Their approximations and divergences.
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Coutu, Louise. "L'utopie comme théorie critique de l'architecture contemporaine." Rouen, 2006. http://www.theses.fr/2006ROUEL625.
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Dinoy, Ashvini Mary. "An Urban Koliwada: Redevelopment of a Fishing Village in Mumbai, India." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/85014.
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"Looked into the streets - the glaring lights and the tall buildings - and there I conceived Metropolis" exclaimed the Austrian filmmaker Fritz Lang at the sight of New York. This visit inspired him while creating the sets and background for the radical movie Metropolis released in 1927. Taken right after World War I, the movie set in 2026 was heavily symbolic with German expressionism and it captured a projected socio-economic condition which was a direct result of the fears of the people at that time. The working class lived in subterranean spaces distraught with mundane labor while the affluent lived in skyscrapers and exotic terraced gardens and drove around in elevated highways. The city seemed to be this well-oiled machine existing only to cater to the needs of the upper class. The poor eventually try to overthrow the rich. The movie finally ends with the message of hope, that the mediator would create harmony among the classes and create peaceful coexistence.
The city of Mumbai in 2018 is in many ways - the Metropolis. When a city develops, it does not seem to cater to all sects of people. In fact, there seems to be a parallel relationship between the size of the city and its level of socio-economic disparity: the larger the city the less equal it tends to be. More often than not, the true soul of the city lies within that lower stratum of society who often live in slum-like settlements.
Can architecture play the Mediator and bring about a connect?Master of Architecture
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Ganjavie, Amir. "Le rôle de la pensée utopique dans l'aménagement viable des villes de demain." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27133/27133.pdf.
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Scachetti, Emmeline. "La saline d'Arc-et-Senans : manufacture, utopie et patrimoine (1773-2011)." Thesis, Besançon, 2013. http://www.theses.fr/2013BESA1030/document.
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La Saline d'Arc-et-Senans, construite à partir de 1774 selon les plans de l'architecteClaude Nicolas Ledoux, est aujourd'hui un centre touristique et culturel reconnu, notamment depuisson classement comme patrimoine mondial par l'Unesco en 1982. Mais son histoire est avant toutcelle d'un lieu de production du sel, qui fonctionne pendant plus d'un siècle. Sur décision de la Fermegénérale, elle est construite pour répondre aux difficultés rencontrées dans l'exploitation des sourcessalées à la Saline de Salins, en particulier le manque de bois. Saline sans ressources en sel, son exploitationpose la question de son manque d'autonomie, qui explique son échec économique. Inscrite dansl'ensemble juridico-économique que représentent les Salines de l'Est, elle peine à trouver sa place surle marché du sel. Les Salines de l'Est, d'abord protégées par le monopole d'État sur le sel jusqu'à la loide 1840, sont ensuite livrées à la concurrence des entrepreneurs privés, qui tentent de réunir au seind'une société anonyme l'ensemble des concessions et mines de sel de l'Est. La Saline d'Arc-et-Senans,bien moins rentable que les autres, sans possibilité d'amélioration technique, doit fermer ses portes en1895. Elle échappe alors de peu au destin habituel des anciens lieux de production, celui de la friche.Inscrite sur la liste des monuments historiques en 1926 et rachetée par le département du Doubs en1927, elle pose la question de l'avenir des sites industriels dont l'activité cesse. Sans préoccupationspatrimoniales particulières, plusieurs projets de reconversion se succèdent jusque dans les années 1960,sans qu'aucun d'entre eux aboutisse. C'est l'intervention des technocrates de la culture qui apporte lasolution en 1972, avec la création du Centre du futur. L'identité de ce lieu, qui a été progressivementvidé de sa mémoire industrielle, est reconstruite autour de la notion de cité idéale et la Saline devientle patrimoine de l'utopie. Cette nouvelle lecture des lieux, si elle en permet la sauvegarde, montreaujourd'hui ses limites pour l'exploitation touristique de la Saline, qui peine à armer une identité cohérente auprès du public. Ainsi, en occultant la mémoire industrielle du lieu, la Saline d'Arc-et-Senansest un exemple unique de patrimoine inventéThe Saltworks of Arc-et-Senans were built from 1774 according to the drawings of thearchitect Claude Nicolas Ledoux. Today they are a famous touristic and cultural centre, especially since they have been inscribed on the Unesco World Heritage List in 1982. However their history is before everything a history of a place where salt is produced during more than one century. Further to the decision of the Ferme générale, they were built to solve the difficulties about salt sources exploitation at the saltworks of Salins, particularly the lack of wood. Because they are saltworks without salt resources, their exploitation question their lack of autonomy behind their economic failure. They struggle to find a place in the salt market because of legal and economic frameworks of the Salines de l'Est. These latter were firstly protected by the state monopoly on salt until the law of 1840. Then they were left incompetiton with private entrepreneurs who tried to gather all the eastern salt mines within a public limited company. The Saltworks of Arc-et-Senans closed in 1895 because they were less profitable than the others and this could not be improved. They narrowly escaped usual destiny of former production places : become an industrial wasteland. In 1926, they were listed historical monument then bought by the department of Doubs in 1927. It was the time to approach the future of industrial sites whose activity stopped. Many projects of conversion suceeded each other until the 1960s with no results. A solution was found in 1972 by technocrats working in cultural fields, with the creation of the Centre du futur. The identity of this place was rebuilt with the concept of ideal city and the Saltworks became the heritage of utopia. However from a touristic point of view, they struggle today to show a coherentidentity to visitors. Because the industrial memory of this place has been eclipsed, the Saltworks of Arc-et-Senans is an unique example of invented heritage
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Cavdar, Rabia Cigdem. "Literary Spaces As The Representation Of Dominant Ideologies In The Context Of Dystopias Written Between 1920 And 1950." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613854/index.pdf.
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This thesis is an attempt to understand the relations between architecture and ideology in literary spaces in the context of Dystopias. It will pursue a definition of the relation between architecture and ideology to understand how the paradigmatic changes affect literary form of architecture to pose revolutionary thought(s). Literature often presents a dystopia or utopia to criticise its own written time, and literary text itself, is both a collection and a pressed version of that time. That is why to examine the ideologies and ideological changes in the period from 1920 to 1950, literary text and constructed spaces in dystopias are used as apparatus to form both the dominant ideology with its negative points and the revolutionary one as a space of resistance. Main discussion will be based on literary spaces in three dystopiasWe written by Russian novelist Yevgeny Zamyatin, Brave New World written by Aldous Huxley and Nineteen Eighty Four written by George Orwell. These cases will be used to open the claim that dominant ideology determines the spatial distances of revolutionary thoughts and architecture, and appear as both cause and result of a materialisation of thoughts, thereby forming a dialectic representation of that ideology. Four main items will form the thesis
architecture, ideology, literary spaces (textual spaces) and trilogy of utopia/dystopia/heterotopias.
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Souza, Diego Beja Inglez de. "Tumulto no conjunto: habitação, utopia e urbanização nos limites de duas metrópoles contemporâneas São Paulo/Paris (1960-2010)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-29072014-104645/.
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A partir de duas monografias paralelas que analisam territórios emblemáticos de habitação social na periferia de São Paulo e Paris, propomos nesta tese um entendimento simultâneo da situação da Cité Balzac, um grand ensemble característico dos anos 1960 que atravessou recentemente um profundo processo de \'renovação urbana\', confrontada com a história de um fragmento do maior complexo de conjuntos habitacionais da América Latina, a Cidade Tiradentes, como estratégia para compreender os últimos cinquenta anos da história da habitação social em ambos os países. Projetos recentes de renovação urbana, de novos conjuntos habitacionais e equipamentos públicos de excelência em ambos os territórios confirmam a excepcionalidade dos casos estudados, a partir dos quais buscamos estabelecer similitudes, contrastes, questões comuns e \'olhares cruzados\'.In this thesis, we propose a simultaneous understanding of the history of two emblematic territories in the outskirts of São Paulo and Paris as a strategy to comprehend the last fifty years of the social housing history in both countries, through the analysis of the transformations of a tipical grand ensemble build in the 1960 that has been recently through a deep renewal process, the Cité Balzac, confronted with the particular case of one fragment of the biggest housing projects complex in Latin America, the Cidade Tiradentes. Recent projects of urban renewal, new collective housing constructions and some special public equipments in both territories reinforce the exceptionality of the chosen cases, starting point for parallels, contrasts, common questions and crossed sights.
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Brayer, Marie-Ange. "Entre art et architecture : la maquette comme objet d'expérimentation au XXe siècle." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0136.
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La maquette d'architecture est envisagée comme un objet d'expérimentation au confluent des pratiques artistiques et architecturales. Trois moments de rupture ont été circonscrits qui, à chaque fois, bouleversèrent la compréhension de la maquette : les avant-gardes historiques ; l'architecture radicale des années 1960-1970 ; l'architecture numérique. Si la maquette est appréhendée jusqu'au XXe siècle dans un rapport analogique à l'architecture, elle s'affirme comme un objet autonome d'expérimentation avec les avant-gardes historiques. L'œuvre se convertit alors en maquette d'architecture, en « construction spatiale » tandis que la maquette d'architecture acquiert un statut d'objet esthétique, interférant avec les autres champs de la création (sculpture, photographie, film, théâtre, etc). L'architecture expérimentale des années 1960-1970 ouvre une brèche utopique dans la notion de projet architectural. On assiste alors à l'effondrement du projet architectural comme langage codifié, qui se dissémine en multiples modes d'expression (performances, objets de design, environnements, etc. ) qui viendront se substituer aux outils projectuels. L'avènement des technologies numériques dans les années 1990 modifiera en profondeur le rôle de la maquette d'architecture qui se convertit au sein de l'espace digital en matrice numérique, code, image, prototype, objet générique. Comme dans les avant-gardes historiques et l'architecture radicale, la maquette est à nouveau un dispositif articulant différents plans de perception, dans une dimension physique et cognitive, où s'échangent les régimes de l'image et de l'objet, dans une « mutabilité » des langages et des échellesThe architectural model is envisaged as an object of experimentation, at the crossroads of artistic and architectural practices. Three moments of epistemological rupture have been identified, each of which has in turn shattered the understanding of the model: The historical avant-gardes; The radical architecture of the 1960s-1970s in Europe; Digital architecture. Although up to the beginning of the 20th century the model was grasped in its analogical relation to architecture, the practices of the historical avant-garde movements led to its being increasingly seen as an object of experimentation. The avant-gardes transformed the work into a model, into a "spatial construction" while the architectural model acquired the status of aesthetic object, interfering with the other fields of creation (sculpture, photography, film, theater, etc. ). The experimental architecture of the 1960s-1970s opened a utopian breach in the concept of the architectural project. This resulted in the collapse of the architectural project as the production of a codified language which was now disseminated though multiple modes of expression (performances, design objects, environments, etc. ), and which gradually began to replace the tools for planning. The advent of digital technologies in the 1990s profoundly transformed the role of the architectural model, which within digital space became a digital matrix, code, image, prototype, generic object. As with the historical avant-gardes and radical architecture, the model has once again become a device for joining different planes of perception, in a physical and cognitive dimension, where the rules governing the image and the object are interchangeable, in a "mutability" of languages and scales
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Dax, Malcolm A. "The Physical from the Void." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64439.
Full textAbstract:
This thesis confronts the ultimate limits of perceiving the constructed world and the limits of our ability to experience architecture. The imperative of architecture is poetic: to and project encounters between matter and energy that shape the existing and bring forth the as yet unimagined to form a continuing human world. This is explored through the imagining of a habitat and vessel that projects the human endeavor of architecture into the formless depth of space.
In drawing the physical from the void, the page becomes a way to move architecture from non-existence into the real by means of the imagination. An imagined wold is drawn from the void in search of the center for a universal and humanist architecture. The thesis is conceived as a vehicle for drawing the limits of perception when we attempt to imagine that which is greater than ourselves.Master of Architecture
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Puppi, Marcelo. "La dimension culturelle du rationalisme structurel : architecture, histoire et utopie chez Léonce Reynaud, Fernand de Dartein et Auguste Choisy." Paris 1, 2013. http://www.theses.fr/2013PA010517.
Full textAbstract:
Dans l'histoire de l'architecture, le rationalisme structurel du XIXe siècle a toujours été envisagé du point de vue du rapport entre l'architecture et la science. Si cette perspective a contribué significativement à la compréhension des liens entre l'architecture et son contexte culturel, elle constitue néanmoins encore une approche partielle du sujet. On peut maintenant aller plus loin et appréhender l'autre part du rationalisme à savoir la dimension esthétique qui s'avère au moins aussi importante sinon plus que la dimension scientifique. La pensée de L. Reynaud et de ses élèves F. De Dartein et A. Choisy est une source privilégiée pour élargir l'intelligence du sujet. Jusqu'à présent, elle n'a pas encore été intégralement perçue. D'une part, au motif qu'ils sont ingénieurs, on en déduit un peu trop vite qu'ils n'outrepassent pas les limites de la méthode analytique de Durand. D'autre part, on considère que la mise en valeur de l'art par Reynaud représente simplement une concession faite à la doctrine de Quatremère de Quincy et à l'Académie. Reynaud, Dartein et Choisy restent encore des auteurs à découvrir. Ce travail vise à montrer, d'abord que leur approche théorique et historique relève d'une méthode synthétique ou organiciste, et plus particulièrement de la pensée saint-simonienne; ensuite que la dimension esthétique joue un rôle majeur dans la conception qu'ils se font de la connaissance comme de l'architecture, de la théorie comme de la pratique; et enfin que c'est surtout par l'intermédiaire de la dimension esthétique que l'on peut approfondir l'étude des rapports reliant leur conception de l'architecture au contexte culturel et social de l'époque.
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Leyval, David. "La banlieue, à l'épreuve de l'utopie." Lyon 3, 2004. http://www.theses.fr/2004LYO31009.
Full textAbstract:
La crise urbaine, enjeu majeur pour la société contemporaine, se manifeste particulièrement dans la banlieue. En dépit du caractère assez consensuel des positions et propositions des spécialistes, la connaissance du phénomène urbain apparaît peu fondée théoriquement. L'objet de cette étude est d'une part de chercher dans la philosophie des apports théoriques pour constituer un savoir raisonné, et refonder une discipline, l'urbanisme, d'autre part de montrer qu'une approche strictement morphologique est nécessaire, voire suffisante, pour comprendre et traiter le problème de la banlieue. Il est pour cela proposé d'élaborer et expérimenter des outils de mesure et d'analyse, et de dégager des principes procéduraux pour la création de nouvelles formes urbainesAs major stakes in our contemporary society, the crisis of urban areas appears particularly keen in the suburbs. In spite of the specialists' rather consensual statements and propositions, little theory has fed our knowledge of urban phenomenon. Therefore, the purpose of this study is on one hand to search for philosophical contributions in order to build an articulate knowledge and reestablish new foundations to town planning. On the other hand, the purpose is also to show the necessity of a strictly morphological approach, indeed sufficient, to understand and deal with the question of suburbs. For so, new tools of measure and analysis will be elaborated and experimented, as to bring out procedures to create new forms for the city