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Mrva, Jozef. "Monument." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232446.
Testo completoAbstract (sommario):
I base my spatial installations upon working with waste materials. I use characteristic and aesthetics of cardboard and wooden clippings to express dialogue with geometrical drawings, which I have been producing since the last year. Protracted and unexpectedly-carved shapes resemble timber beams or ruins and can lead to ecological or eschatological questions. The title "Monument" is an ironical disputation with human trace and materials we use without giving them any further attention.
2
Dugas, Benoît. "The monument." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq63505.pdf.
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Meilleur, Daniel. "Monument et société." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55631.
Testo completo
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Yusaf, Shundana 1970. "Monument without qualities." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/70737.
Testo completoAbstract (sommario):
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.<br>Includes bibliographical references.<br>Traditional interpretations of monuments look either at the process of production or of the nature of reception. In this thesis, I take a slightly different approach and look at the monument that exists in peoples' imagination prior to what is actually constructed. The mausoleum of Quaid-e-Azam Mohammed Ali Jinnah, the founding leader of Pakistan, provides an appropriate subject for such an approach. Jinnah was a larger than life figure, who embodied for most of the citizens of the new nation the ideals on which the country was founded. The imagination of his mausoleum is therefore intertwined in very dense ways with the popular imagination of identity, nationhood, and national ideals. Another reason for favoring this approach is the availability of direct information on popular conceptions of the proposed monument. These conceptions were recorded in a series of letters written by ordinary people to Miss Fatima Jinnah, the sister of Mohammed Ali Jinnah, and by most accounts the protector of his idealistic legacy. This mode of inquiry raises a number of theoretical issues. One is the articulation in these correspondences, of the appropriation of the ideal of. the monument in a moment before it is built. It problemitizes the entanglement of the monument with what de Certeau calls 'strategies of power' and 'tactics of below' by illuminating facets of the nature of each. Behind this lies a fundamental question. How does one gain access to and think about a modern monument in order to be able to understand its nature and to narrate its story? I use content of these letters to approach this question.<br>by Shundana Yusaf.<br>S.M.
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Falkenäng, Pär. "Skolan; ett monument." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-208200.
Testo completoAbstract (sommario):
Skolan; ett monument Några av de ursprungliga byggnaderna i Slakthusområdet, ritade av Gustaf Wickman, ska i programmet omvandlas till gymnasieskolor och få ett kompletterande och samlande tillägg i form av ett lärocenter. Ett lärocenter som blandar läromiljöer med mer publikt inriktade funktioner så som bibliotek, servering och en blackbox för de omkringliggande gymnasieskolorna och området. I mitt projekt har min utgångspunkt varit skolans status och funktion i samhället. En status som under skolans historia har präglats av dess funktion av att vara en viktig grundpelare och förutsättning för ett fungerande demokratiskt samhälle. Själva skolbyggnaden har i en historisk kontext ofta varit en materiell manifestation för att tydliggöra och i viss mån reproducera den status som var/är kopplad till skolan som institution. Skolbyggnaden tilläts ta plats fungerade och fungerar på flera sätt som ett monument. Skolbyggnaden tilläts ta plats i fysiskt bemärkelse men också i en aspekt av tid genom att i sin gestaltning och materialval bli en beständig del i sin kontext. Med begreppet status och kopplingen till skolan som utgångspunkt har jag valt att låta mitt projekt förhålla sig till sammanhängande och sammankopplade begrepp så som makt, hierarki, kunskap, monument (minnesmärke), landmärke, objekt och centrum mfl. Syftet med begreppen har varit att undersöka hur de kan hjälpa mig att skapa en byggnad som manifesterar sitt egna tänka värde och som tydligt avläses som en huvudbyggnad som hierarkiskt överordnar sig de omkringliggande gymnasieskolorna. Jag har i min process låtit symboler, bilder och arkitekturhistoriska referenser påverka utformningen och gestaltningen av mitt lärocenter. Det har handlat om att låta en del av programmets funktioner referera på ett mer eller mindre tydligt sätt till klassiska element som bland annat amfiteatern, agoran och monumentet. Det har också handlat om att låta sig styras och påverkas av resultaten från bildsökningar av de begrepp som jag har valt att förhålla mig till. Mitt lärocenter är en byggnad som präglas av en monolitisk karaktär och placerar sig som en huvudbyggnad runt parken Fållan. Genom att plocka upp material och former från den ursprungliga byggnationen i området blir min byggnad ett med platsen.<br>The School Building; a Monument Some of the original buildings in the so called Slakthusområdet south of Stockholm, designed by Gustaf Wickman, will be transformed into upper secondary schools and receive a complementary and collective supplement in the form of a learning center. A learning center that mixes learning environments with more publicly oriented functions such as library, dining and a black box for the surrounding upper secondary schools and the area. In my project, my starting point has been the school’s status and function in society. A status that historically has been high due to the schools function of being an important pillar for a functioning democratic society. The school building itself has in a historical context often been a material manifestation to clarify and to some extent reproduce the status that was/is linked to the school as an institution. The school building was allowed to take up space and in the same time function and serve as a monument. The school building was allowed to take up space in a physical sense but also in an aspect of time by becoming a permanent part of its context in its form and choice of material. With the concept of status and connection to school as a starting point, I have chosen to let my project relate to coherent and interlinked concepts such as power, hierarchy, knowledge, monument, landmark, object and center, etc. The purpose of the concepts has been to explore how they can help me create a building that manifests its own perceptual value and is clearly read as a main building that is hierarchically superior to the surrounding schools. I have in my process let symbols, pictures and architectural references affect the design and the shape of my learning center. I have let some of the features of the program refer more or less obviously to classical elements such as the amphitheater, the agora and the monument. I have also allowed myself of being guided and influenced by the results of image searches of the concepts I have chosen to relate to. My learning center is a building of a monolithic character and places itself as a main building around the park called Fållan. By using materials and shapes that refers to the original buildings in the area, my building becomes one with its location.
6
Onderdonk, John A. "Monument of Travel." Thesis, Virginia Polytechnic Institute and State University, 1995. http://hdl.handle.net/10919/53407.
Testo completoAbstract (sommario):
Let's go up. Yeah, but it's raining. I know, let's just go. Well, we'll meet you up there.
"Therefore we travel not like messengers but like travelers. We do not think only about the departure and the arrival but also the interval separating them. The trip itself is a pleasure for us." Rousseau Emile, Book V
Convenience is tough on architecture. Most Americans have no time for architecture. Necessity has been diluted by today’s 24-hour, car fax, tummysizing, books-on-tape life-style. It is through a lack of convenience that one can see what is important and appreciate it.
“Primitive” forms, stone circles, mounds, and roads are generators of my projects; not in the sense of an homage or reference, but more in the sense of “that was the image I held in mind.” They try to produce some of the same feeling or presence. Few elements, simple forms, no clutter; I try to achieve clarity and control in the design of the object. Buildings to me are objects.
The ruins of Italy, Hadrian’s Villa and the Foro Romano were inspiring in their formal nature and in the presentation. To see a building as a ruin, to see the building as a section or as a plan, and to experience the generation of the architecture really started to define the basis of architecture.
In the Ticino region of Switzerland, these ideas were present in a different culture, specifically Galfetti’s Castelgrande project, as well as the existing castle. The region’s architecture made it possible to see what was important personally in architecture: the craft, the materials, and the sense of place.<br>Master of Architecture
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Beauchêne, Stephanie Laplantine François. "Ethnographie d'un monument." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/beauchene_s.
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Lee, Haeng-Soon. "Monument, espacement, aménagement." Paris 1, 2005. http://www.theses.fr/2005PA010505.
Testo completoAbstract (sommario):
Mon voyage commence au moment même où ma main glisse et s'enfonce dans le bloc d'argile, par-delà le temps, par-delà l'endroit où je suis à ce moment précis. De temps à autre, les sensations que me transmet la terre à travers mes mains, provoquent des arrêts sur le parcours et je savoure ces haltes momentanées qui ne sont pas des endroits et des moments quelconques mais des sortes de fragments de mémoire constitués de souvenirs riches de lumière, de teintes, de chaleur, de silence, de joie et de tristesse, de visages et de noms. . . Je me laisse imprégner de toutes les sensations qui m'enveloppent et me promènent, comme si j'étais en quelque sorte, visitée et revisitée sans cesse. Mais chaque aller, chaque retour, chaque visite diffèrent. Chaque aller est un nouveau retour, chaque retour est un nouvel aller. Sans me prévenir, mes paumes et le bout de mes doigts me transportent dans le temps ou dans l'espace plus ou moins proches, plus ou moins lointains. Dès que j'arrache une motte d'argile d'un bloc de terre, une partie de ma mémoire et de mes souvenirs font surface et ce morceau d'argile devient un lieu de mémoire.
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DelGenio, Kathryn A. "Meaning and Monuments: Morality, Racial Ideology, and Nationalism in Confederate Monument Removal Storytelling." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7778.
Testo completoAbstract (sommario):
In this thesis I examine the reproduction of nationalism and white supremacy within Confederate monument removal (CMR) storytelling, and the ways collective identity and emotions are implicated within these reproductions. Using reader generated CMR narratives published in a Southern newspaper, the Augusta Chronicle, I conduct narrative analysis in order to identify key story elements, moral arguments, and cultural codes present in the public CMR debate. Findings indicate that two sharply contested narratives emerge during this debate, one calling for the protection of Confederate monuments and one calling for the removal of Confederate monuments. Further, though these contested stories produce opposing moral value judgements of Confederate monuments, they rely on similar cultural and emotion codes, frames, and rhetorical moves which reproduce nationalism and white supremacy. Through reifying national mythologies, constructing individuals as citizens, rhetorically isolating racism and slavery, and reproducing racialized capitalism, CMR narratives on both sides of the debate become sites where nationalism and white supremacy are perpetuated. These findings indicate that there is an important relationship between collective memory and cultural meaning-making processes related to identity and emotions. Further, findings also suggest that collective memory narratives, particularly contested or oppositional narratives, are important sites facilitating continuity in hegemonic systems. Because of their key role in perpetuating nationalism and white supremacy, it is possible that collective memory narratives may also be spaces where the interruption of hegemonic systems can also be facilitated.
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Williams, Kathleen. "The Mythic Monument and the Monumental Myth: 9/11 Through Film Posters." Thesis, Department of Media and Communications, 2008. http://hdl.handle.net/2123/3931.
Testo completoAbstract (sommario):
Two films were released in 2006 that depicted the events of September 11, 2001. This thesis seeks to interrogate the interpretation of the events through the vehicle of the film poster, for United 93 and World Trade Center. The single image of the film poster calls on audiences to re-engage with the events of 9/11 by bearing witness through consumption in the realm of entertainment. Combining these powerful experiential imperatives with memorialisation and commemorative practices, representations are located in the nexus of the troubled binary of personal and the monument. This discussion will be levelled at the depiction of the personal/monument binary and how this binary is employed to make sense of the event, by disciplining the narrative to exist outside of terrorists’ aims. The use of mythic Hollywood images in the posters can be seen as interpreting the events of 9/11 for a movie-going audience. The posters draw upon mythologies using particular constructions of the binary of personal/monument in response to the role of public memorials, trauma and commemoration, and representations of grief, tragedy and heroism in mythic Hollywood images. Considering the strong national and ideological divisions inherent in the September 11 narrative, film posters from English and non-English speaking contexts are considered. While no claims are made on the individual national identities portrayed, a comparison of five posters English language posters, with four posters released to non-English speaking countries – Korea, Turkey, Germany and Russia – show distinctions between the internationally released posters and alterations made for audiences in the United States. This thesis will adopt a post-structural method of critique. As such, binaries must be seen as contextually bound. Apart from the conceptual apparatus of post-structural theory, the body of literature provides a conceptual and thematic form for analysis. This study develops its own context for analysis by drawing on previous literature concerning: 9/11 particularly in relation to concepts of the Real, taken from Žižek and Baudrillard, including work on pain, tragedy and mourning drawn from Sontag and Butler; previous literature on the film poster, an area of work that is limited and normally tied to advertising discourses, which is not of interest to this study; and mythologies and semiotics, drawing heavily on the work of Roland Barthes. This thesis will use Barthes’ description of “Leaving the Movie Theater” that engages with posters and the role of the cinematic space, as a point of departure. The aim of this thesis is to engage with binaries to find dominant meanings to question the various interpretations and understandings of 9/11, and to question whether these parties to the binary are truly opposed poles. Engaging with a large body of previous literature to theoretically and conceptually guide the analysis, this thesis seeks to further existing study to argue toward a new socio-historical understanding of 9/11 through an in depth analysis of film posters.
11
Malti, Maliha. "La question patrimoniale à Tlemcen (Algérie) : héritages, représentations et enjeux territoriaux et sociaux." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30080.
Testo completoAbstract (sommario):
La cité ancienne, les vestiges, les monuments et sites historiques de la ville portent notre intérêt dans cette étude : comment ont-ils été mis en patrimoine? Le fait notable est que les édifices anciens qui composent la ville ont subi divers changements, autant dans l’aspect aménagement que dans l’usage : « Ces édifices sont par eux-mêmes des signes, des "représentants" qui possèdent une valeur absolue par rapport à l'histoire de l'utilisation du territoire » (Carabelli R., 1999, p.15). Les évènements historiques et les hauts lieux de la vie urbaine ont participé à ces mutations. Comment ces monuments sont intégrés dans le schéma de l’aménagement urbain? Il s’intègre car il s’harmonise avec la physiologie de la ville ? Il s’intègre parce qu’il rappelle aux citadins leur histoire ? Les monuments existaient comme marque de la ville avant même le mot patrimoine. Comment ils nous ont été transmis ? Et dans quel état ? Et pourquoi ? Est-ce par négligence ou bien par méconnaissance ?<br>The ancient city, the ruins, monuments and historical sites of the city are our interest in this study: how have they been heritage? The notable fact is that the old buildings that make up the city have undergone various changes, both in the development aspect in use: "These buildings are themselves signs," representatives "who have an absolute value compared to the history of land use "(Carabelli R. 1999, p.15). Historical events and the high places of urban life have participated in these mutations. How these monuments are integrated in the scheme of urban planning? It integrates as it harmonizes with the physiology of the city? It fits because it reminds urban history? The monuments existed as a mark of the city before the word heritage. How they come to us? And in what state? And why ? And how ? Is it negligence or through ignorance?
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Getson, Jennifer. "Jules Dalou and the Problem of Monumental Commemoration in Third-Republic Paris." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1372866676.
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Lagercrantz, Love. "Att lyfta ett monument." Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280172.
Testo completoAbstract (sommario):
Namnet på pojektet är ”Att lyfta ett monument” och handlar om en ny tillbyggnad till Stockholms stadsbibliotek. Förslaget syftar till att utöka bibliotekets publika ytor och utrymmesmässigt fokus har varit basarerna från 1930 som vetter mot Sveavägen. Biblioteket är ett unikt kulturarv och troligtvis Sveriges kändaste byggnad utomlands. Att göra en ny tillbyggnad till ett sådant monument auktualiserar omdelebart en mängd frågor. Min frågeställning när jag satte igång berörde hur jag som arkitekt bör tänka då jag utformar ett tillägg i en historiskt känslig kontext. Vilka förhållningssätt är de mest lämpliga i en så pass laddad och världsunik miljö? Som arkitekt tycker jag att man alltid noggrant bör ta ställning till sin omgivning och relatera till den i sitt förslag. I detta projekt har jag fått möjligheten och utmaningen att öva mig i konsten att relatera i en kontext av exceptionellt stor vikt. Metoden som jag har arbetat fram kallar jag för Sampling. Målet vid utformningen av tillbyggnaden har varit att underordna sig huvudbyggnaden utan att hemfalla åt pastisch. Min tes är att jag kan tillåta mig själv rätt stor frihet, så länge som jag identifierar och återanvänder bärande motiv, material, rumsorganisation, färgscheman och liknande från biblioteket. På så sätt är målet att de två byggnaderna ska komma att harmoniera och, förhoppningsvis, även lyfta varandra.<br>The name of the project is "Lifting a monument" and is about a new extension to Stockholm's city library. The proposal aims to expand the public areas of the library and the spatial focus has been the bazaars of 1930 facing Sveavägen. The library is a unique cultural heritage and probably Sweden's most famous building abroad. Making a new extension to such a monument instantly raises many issues. My question when I started was about how I as an architect should think when designing a supplement in a historically sensitive context. Which approaches are most appropriate in such a charged and world-unique environment? As an architect, I think that one should always carefully consider its surroundings and relate to it in its proposal. In this project I have been given the opportunity and challenge to practice the art of relating in a context of exceptional importance. The method I have worked out I call Sampling. The goal in designing the extension has been to submit to the main building without falling into the pastiche. My thesis is that I can allow myself quite a lot of freedom, as long as I identify and reuse the supporting motifs, materials, room organization, color schemes and the like from the library. In this way, the goal is that the two buildings will harmonize and, hopefully, also lift each other.
14
Myers, Isabella. "The book as monument." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6817.
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LIANI, PAOLA. "Monument-Memory verso involontario." Doctoral thesis, Università IUAV di Venezia, 1998. http://hdl.handle.net/11578/278412.
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Bajec, Manca. "Claims of the monument : the counter-monument remains : the myth of the monument in former Yugoslavia : artistic practice as reconciliatory form." Thesis, Royal College of Art, 2019. http://researchonline.rca.ac.uk/3769/.
Testo completoAbstract (sommario):
How can artistic practice become a valid method of observing counter-histories; the histories which are not included in the institutionally supported historical narrative? How can the counter-monument movement be re-adapted and re-visited through its original ideologies, in the context of post-conflict spaces in former Yugoslavia? This practice-led project positions the state of the monument today, and more specifically in societies existing in a state of unresolved conflict. In doing so, it examines the artwork as a counter-monumental form and as an approach to unravelling issues of a resistance which exist in sites where monument-building is not possible. Departing from a body of research that looks at how destruction or alienation of sites of memory enables the denial of history and creates formats for further manipulation of historical events, this project considers whether artistic practice can provide a method of confronting the state of memorialization of conflict through an auto-ethnographic critique of historical events. Furthermore, whether artistic practice can provide insight into a space where state facilitated symbolic repair is unstable. This project takes on an appropriated structure of a play. Presented in six Acts, and a Prologue and Epilogue, it delves into an observation, through a visual and non-visual critique, of three selected, different states of conflict that have appeared in the region of former Yugoslavia and their memorialization. The first examines the WWII conflict between the Partisans and Domobranci (Homeguard) in Slovenia, the second observes the historical narrative surrounding the WWII concentration camp Jasenovac, and the third looks at the problematic state of denial of 1990s atrocities, in Republika Srpska, in Bosnia and Herzegovina. Each Act unveils a methodological approach, which is considered an integral part of the artwork, and through which a different understanding of the counter-monument is appropriated. The Acts consist of reflections intertwining three different modes of presenting knowledge; through theoretical concepts surrounding conflict, memory, monuments, representations of violence in the arts and politics (considered as stage notes, giving context), interrupted by a series of narrative recollections (imitating diary descriptions, of events that are either encounters with places or people and treated as a scenography which creates the atmosphere), and the artworks (which are regarded as the script). Through a series of artworks, this project, appears almost as a gesamtkunstwerk, or complete body of the Acts, weaving through theoretical and historical constructs in order to challenge the premise of social and artistic representations of trauma, history, political power, and social injustice. In doing so, it positions the action of making research as the sculptural-visible and non-visible-form which attempts to redefine political sculpture as the re/de-construction of the counter-monument.
17
Hadimioglu, Cagla Jane 1968. "Proscribed scenes from a monument." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/66795.
Testo completoAbstract (sommario):
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.<br>Includes bibliographical references (p. 73-77).<br>In producing the historic monument through attention to a neatly defined prescription of privileged concerns, architectural scholarship yields an effluvium of discarded issues proscribed by the conventions of scholarly tradition. This study proposes that a 'monument' arises from the unstable dialectic between spatial practices and history. By privileging the monument as document of history, scholarship elides the spatial practices and the experiences of architecture's occupants. This study explores the implications of instating these experiences and spatial practices to the 'scene' of architectural discourse using the moving image as representational tool.<br>by Cagla Jane Hadimioglu.<br>S.M.
18
Linnér, Astrid. "Från Sisab till Monument Valley." Thesis, KTH, Arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-181921.
Testo completoAbstract (sommario):
En förskola på Textilvägen i Södra Hammarbyhamnen som också inrymmer studentboende, kolonilotter på Fryshusets tak, teater- och danslokaler och en festvåning till uthyrning. Detta ger en möjlighet att ta outnyttjade ytor i anspråk och ge något tillbaka till de boende i området. Man bjuder in olika aktörer och knyter på så sätt ihop förskolan med omgivningen. Byggnadens olika funktioner är uppelade i hexagonala torn i varierande höjd. Utrymmet som bildas mellan tornen bildar en ljusgård som knyter samman förskolans olika delar. Delar av taket kan utnyttjas av barnen som utomhusgårdar. Genom platsbesök och intervjuer med förskolepersonal, förskolechefer, pedagoger, stadsdelar, byggföretag, exploateringskontor och arkitekter har jag tagit mig en bit på vägen i att förstå hur processen ser ut och varför förskolorna ser ut som dom gör. Jag har velat skapa en arkitektur som tar avstamp i denna “verklighet”, med en reel plats och faktiska förutsättningar, men som också tillåter sig att tänja gränser och möta barnen i deras gränslöshet.<br>A kindergarten on Textilvägen in Södra Hammarbyhamnen which also houses student housing, allotments on the ceiling of Fryshuset, blackbox space for theatre and dance and then also a party room for hire. This provides an opportunity to claim unused areas and give something back to the residents in the area. It invites different actors and in this way connects the preschool to the surrounding environment. The building's various functions are put up in the hexagonal towers of varying height. The space formed between the towers creates an atrium that connects the preschool parts. Parts of the roof can also be used by the children as outdoor space. Through site visits and interviews with preschool staff, pre-school managers, teachers, districts, construction companies, development offices and architects, I have partly come to understand how the process looks like and why preschools look like they do. I've been wanting to create an architecture that takes of in this "reality", with a reel seat and the actual conditions, but also allows itself to push the boundaries and meet the children in their boundlessness.
19
Adamsson, Marcus. "Odödliga monument : Återanvändning av megalitgravar." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-325166.
Testo completoAbstract (sommario):
Megalithic tombs that originally date back to the early to mid-neolithic are the oldest preserved monument that can be found in Scandinavia. The act of raising big stone structures for the dead shows that the monuments where build to last through time. Prehistoric people from different time periods have reused these monuments on different locations all over Europe. This paper focuses on the monuments in Sweden and it shows that the reuse of megalithic monuments appears in all regions where these monuments can be found. The different reasons to why people wanted to reuse these monuments are also discussed. The paper proposes that the reasons are religious and political. Political the monuments can give inheritance rights which granted land rights among other things.
20
Sabín, Díaz Patricia. "Washington Monument a visitor's center /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1867.
Testo completoAbstract (sommario):
Thesis (M. Arch.) -- University of Maryland, College Park, 2004.<br>Thesis research directed by: School of Architecture, Planning and Preservation. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
21
Larsdotter, Persson Moa. "A monument to the flaws." Thesis, Konstfack, Textil, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7018.
Testo completoAbstract (sommario):
My work is a tribute to the disintegration of built environments, and the chaos and disturbance that it brings into the idea of what a city should look like. An ode to the ruins that are witnesses to destructive social and economic systems and that tell the stories of the life that once inhabited them. A comment and critique on humanities way of ruining everything: world that we live in and our self; a destructive behaviour that we refuse to admit we have, and desperately try to hide. We polish the façades and fake our appearance in order to keep the illusion. I am discussing the concept of ruin romanticism, comparing the garden ruins of the eighteenth century to the urban exploration of abandoned places of modern society, the fascination for what once was, but are no more and the different feelings these places might arouse. I describe how I through experiments with dying, deconstructed screen printing and distressing, manipulate fabrics to create an illusion of brick walls. And how I through experiments with display, sound and light explore solutions for creating the dystopic atmosphere of abandoned places in a textile installation. My biggest inspiration is the inevitable downfallof the urban landscape and I am romanticising the imperfections and the flaws. I take what is understood as ugly by the rules of aesthetics, make it beautiful, and put it on a pedestal.
22
Rivière, Elodie. "Façonner le château de demain : entre héritage du passé et appropriation patrimoniale : le cas du château de Lavardens." Electronic Thesis or Diss., Pau, 2024. http://www.theses.fr/2024PAUU1150.
Testo completoAbstract (sommario):
Comment l'étude du passé d'un monument historique peut-elle l'aider à s'ancrer dans le présent ? Qu'est-ce qui prédispose des communautés à agir pour la conservation d'un patrimoine ?Cette thèse porte sur la patrimonialisation des châteaux, plus précisément sur celle du château de Lavardens (Gers). L'enjeu est de saisir l'identité patrimoniale de ce site culturel : nous y avons observé les bénévoles, l'équipe de travail, les visiteurs, les habitants… qu'est-ce qui les anime ? Comment certains, dans la folie de la jeunesse, se sont-ils investis d'une tâche de transmission patrimoniale ? Une folie passagère ou des desseins ambitieux à corréler à la période charnière des années 1960 ? Comment un château, ouvert à tous vents et voué à l'oubli, est-il devenu un site patrimonial d'envergure ? Nous touchons au cœur d'une autre thématique : « l'appropriation ». Pas de celle que l'on associe à l'appropriation culturelle, sujet polémique en vogue, mais d'une notion tout à fait distincte : l'appropriation patrimoniale. Le concept d'appropriation patrimoniale est l'objet de ce travail et il figure comme le fil conducteur de nos questionnements liés à la patrimonialisation des monuments. Le nom est dérivé du verbe « s'approprier » qui se définit comme l'intention de quelqu'un de faire d'un objet ou d'un bien sa propriété, d'adapter quelque chose à une utilisation définie, c'est-à-dire de rendre propre à un usage ou à une destination. Pour y parvenir, cela inclut une mise en action stratégique menée par un ou plusieurs acteurs. Ce concept est central dans de nombreuses disciplines mais, quelques années auparavant, il était encore émergeant en géographie, sociologie et muséologie. Tout son intérêt est perceptible dans les études patrimoniales et cette partie interroge les différents moments où intervient l'appropriation dans la patrimonialisation d'un monument historique.Écrire l'histoire du château de Lavardens c'est donc, dans une juste mesure, accorder la place à ceux qui « font » et « défont » que nous nommerons les faiseurs de château, et qui participent à la mise en place d'une patrimonialisation lente et progressive. Ce bilan n'a pas prétention à être exhaustif mais plutôt à montrer comment la construction de notre objet a été rendue possible par l'émergence de nouvelles problématiques croisant les concepts de politisation, de pouvoir et de territoire. Le questionnement sur le site et les acteurs, mots-clés de la discipline géographique, revêt une place centrale. L'usage d'une telle terminologie exige une définition et une clarification du sens premier, afin de l'appliquer au champ du patrimoine. Les « faiseurs de château » apparaît comme une nouvelle formulation, fortement influencée par le retour du sujet évoqué dans l'ensemble des sciences sociales et humaines et dans le contexte ambiant des classiques rapports homme/espace. Le château possède une dimension matérielle et symbolique, support de représentations et de différentes modalités d'appropriation. Nous remontons des origines du XIIe siècle et abordons toutes les périodes historiques pour retracer l'évolution architecturale et les traces laissées par les propriétaires qui se sont efforcés d'adapter le site et son environnement à leurs besoins et à leurs ambitions. Le bâti cristallise les mémoires et devient un témoignage visible des modes de vie et des pratiques. Par ailleurs, comprendre la pierre, palimpseste des décisions humaines, est un défi de taille : l'étude historique et archéologique nous aide à déterminer l'identité du lieu, à en déceler sa spécificité, ce qui donne envie à des individus de le préserver, et ce qui pousse d'autres personnes à vouloir se l'approprier<br>How can the study of a historical monument's past help it establish a place in the present? What drives communities to act for the preservation of heritage? This thesis focuses on the process of patrimonialization of castles, specifically the Château de Lavardens (Gers). The aim is to grasp the patrimonial identity of this cultural site: we have observed the volunteers, the working team, the visitors, and the local inhabitants—what motivates them? How did some, in the fervor of youth, become involved in the task of heritage transmission? Was it a fleeting passion or ambitious projects tied to the pivotal period of the 1960s? How did a castle, once exposed to the elements and destined for oblivion, transform into a significant heritage site? This brings us to the heart of another theme: "appropriation." Not the type associated with cultural appropriation, a controversial and trending topic, but rather a distinct concept: heritage appropriation. This concept is central to our work and serves as the guiding thread in our exploration of the patrimonialization of monuments. The term is derived from the verb "to appropriate," which refers to the act of claiming ownership over an object or asset, or adapting something for a defined use, making it suitable for a specific purpose. Achieving this involves a strategic process undertaken by one or more actors. This concept is crucial in numerous disciplines but was still emerging in fields like geography, sociology, and museology a few years ago. Its relevance is particularly evident in heritage studies, and this section examines the various stages at which appropriation occurs during the patrimonialization of a historical monument. Writing the history of the Château de Lavardens, therefore, involves recognizing the role of those who "make" and "unmake" it—whom we call the "castle makers"—who contribute to the slow and gradual process of patrimonialization. This analysis does not claim to be exhaustive but seeks to demonstrate how the construction of our research object has been made possible through the emergence of new issues intersecting with the concepts of politicization, power, and territory. The focus on the site and the actors, key terms in the discipline of geography, holds a central place in this study. The use of such terminology requires a clear definition and clarification of its primary meaning, to apply it effectively to the field of heritage. The term "castle makers" emerges as a new formulation, strongly influenced by the resurgence of the subject in social sciences and humanities, especially in the classic relationship between humans and space. The castle holds both material and symbolic dimensions, serving as a platform for representations and different modes of appropriation. By tracing its origins back to the 12th century and examining all historical periods, we map the architectural evolution and the traces left by its successive owners who sought to adapt the site and its environment to their needs and ambitions. The building itself crystallizes memories and becomes a visible testament to ways of life and practices. Moreover, understanding the stone—this palimpsest of human decisions—is a significant challenge: historical and archaeological study helps us determine the site's identity, uncover its uniqueness, and understand what compels individuals to preserve it and why others might seek to claim it as their own
23
Shannon, Edward J. "As time passes: garden, monument, ruin." Thesis, Virginia Polytechnic Institute and State University, 1992. http://hdl.handle.net/10919/53334.
Testo completoAbstract (sommario):
Groundspace to bury the deceased has become a rare commodity. As an alternative, cemeteries are beginning to build large high density mausoleums to house the dead above ground. As I began to study the building type of a mausoleum, an issue perturbed me: As time passes, the loved ones of the deceased will pass on and no longer come to visit or care for the building. Most likely there will be a lack of funds, the building will no longer be maintained. The building will eventually deteriorate and become a ruin. What happens to the mortal remains? The conventional cemetery does not have to consider this issue, as the bodies are simply allowed to deteriorate in the ground, and the grave marker is able to withstand much more abuse than a building. The manner in which I have addressed this issue is to design the mausoleum to potentially become a ruin, and thus the mortal remains are returned to the earth. “FOR DUST YOU ARE AND TO DUST YOU WILL RETURN.” (GEN 3:19 NIV)<br>Master of Architecture
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Stoffle, Richard W., Rebecca Toupal, Nathaniel O'Meara, and Jill Dumbaul. "Applied Ethnobotany Pipestone National Monument Minnesota." Bureau of Applied Research in Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/301299.
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Thät, Eva. "Monuments and minds : monument re-use in Scandinavia in the second half of the first millennium AD." Thesis, University of Reading, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415539.
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Henschen, Katharina. "The monument : the Shoah and German memory." Thesis, City University London, 2002. http://openaccess.city.ac.uk/7648/.
Testo completoAbstract (sommario):
The aim of this research project is to analyse forms of remembrance and memory of the Shoah in Germany in its and their political and cultural formations. The underlying question driving the research project is Adorno's famous essay 'What does it mean: coming-to-terms with the past?'. The thesis deals with historical-philosophical reflections and the historical-literary perspective on the complex process of remembering the Shoah in Germany and its monumental manifestations in the form of the planned Holocaust Memorial in Berlin. The research project sets out to critique and analyse a body of artistic, literary and philosophical works that engage with the problematics of remembering and re-presenting the Shoah. It explores these critical questions against the backdrop of the changed social and historical conditions of the reunited Germany and makes reference to the debates of the 1990s, the planned Holocaust Memorial in Berlin and the wider context of post-Holocaust discourse. The first chapter delivers an exegetical reading of Walter Benjamin's texts in order to open up new interpretative perspectives for an understanding of the issues at stake. Benjamin's notions of 'history' and 'memory' serve as ideas for a comparative analysis of the problematics of memory in the country of the perpetrators and for the possibilities of future memory. The second chapter discusses the decision-making process for a national, central 'Memorial to the murdered Jews of Europe' in Berlin; it explores the winning designs of the competition and their respective implications on what constitutes the memory of the Shoah in Germany. The decision for a central memorial and the implications of the chosen design are measured against the backdrop of the debates of the 1990s and the politics of a re-united Germany. The third chapter discusses the different attempts of literary and (historical-)philosophical reflection on the occurrence of the Shoah in the writings of Thomas Mann, Hannah Arendt, Karl Jaspers and Alexander and Margarete Mitscherlich. The chapter questions the political positioning and action of the author Martin Walser, as a representative of the generation of perpetrators, to the process of working-through and coming-to-terms. It critically examines Walser's speech of October 1998 and places the speech in the historical context of coming-to-terms in post-war Germany. The thesis demonstrates that the choice of design. for the planned Holocaust Memorial correlates with the status of politics in the united Germany. It is argued here that the focus on what it is that needs to be worked through and come to terms with, has shifted during the post-Holocaust discourse. The thesis demonstrates that the questions at stake in the most recent debates are the workings-through of a younger generation that confronts part of a horrifying family history. The thesis argues for the necessity of memory and remembrance in the future.
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Chan, Yuk-ki Frederick, and 陳育麒. "Western District Community Centre: a transformed monument." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984447.
Testo completo
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Rine, Julia. "Morphing Monument| The Lincoln Memorial Across Time." Thesis, University of Cincinnati, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1559779.
Testo completoAbstract (sommario):
<p> The Lincoln Memorial Monument is one of the most successful monuments in Washington D.C. Abraham Lincoln's achievements in his presidency left imprints on every American's life. His memory lives on through the generations. The monument was originally considered a Union Civil War and Presidential memorial, but has evolved into something more. This thesis will analyze the evolution on this monument. This memorial has adapted to a shifting nature of its meaning to different generations throughout the history of the United States. This nature is attributed to its location, the Civil Rights Movement, the Civil War, and the personal character of Abraham Lincoln. </p><p> A major aspect of success comes from the location and iconography of the site. The statue alone inspires a spiritual connection to the struggles of Lincoln. The memorial was placed on the direct axis of the National Mall. This is considered a location of great honor and is easily accessible to visitors. The site and design also allows a massive amount of people to gather and participate in events on the grounds of the monument. A visit to the Lincoln Memorial is a remarkable journey though American history and the extraordinary memorials and monuments of the National Mall. </p><p> Another crucial aspect to the success of this monument in Washington D.C. is the struggle for civil rights. The Civil Rights Movement was able to use the monument as a stage for protest. The movement could then use the Lincoln Memorial and the character of Lincoln as part of its iconography. This fundamentally changed the meaning of the Lincoln Memorial Monument. This allowed a major shift in the meaning of the movement, allowing the monument to grow within another generation of Americans. </p><p> The personal life and views of Lincoln led to many of his successes and accomplishments throughout his political career. His experiences in life impacted many of his policies and the laws that he stood for in the United States. Lincoln's character proved to be inspirational in a time of need and slavery. His political stances paved the way for sociopolitical changes in the United States. His character is a crucial aspect in understanding the need to honor such a great man. The circumstances of Lincoln's death have also made him into a martyr for abolition. The assassination created a legacy in the history of the United States. </p><p> Events of the Civil War and its time period also played a crucial matter in the Lincoln memorial's success. The American Civil War and the division of the United States of America proved to be an altering time in American history. Many Southern politicians fought for the right to maintain individual states' rights. These rights mainly pertained to slavery. As the conflict over slavery continued, a total of eleven states seceded from the Union to create the Confederate States of America. The Civil War lasted four years with hundreds of thousands of deaths. In the end, the Union triumphed and the United States remained one nation.</p>
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Riley, Susan. "A speaking monument : the Victorian sequence poem." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309948.
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Liu, Weiqian M. Arch Massachusetts Institute of Technology. "A living monument for a rootless city." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/108913.
Testo completoAbstract (sommario):
Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2017.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (page 68).<br>The Chinese city of Shenzhen has transformed from a small village to a megacity in just three decades due to the nation's economic policies. Despite its economic success, the city struggles with a lack of identity. In this thesis, monumentality is used as an analytical and design tool to address the city's rootlessness. Defining Shenzhen as a city of immigrants, this thesis proposes to build an urban monument for the immigrants. In addition to its symbolic meaning, the monument is an excuse for preserving a preeminent Urban Village in the Shenzhen Central Business District. Urban Village is essentially urban slums that accommodate thousands of low-income migrant workers. It carries much of the immigrants' memories about the city and exhibits a strong life vibrancy. By analyzing the prevailing mode of Urban Renewal in Shenzhen, this thesis focuses on how the new building satisfies the different groups of interest. The design contains a strong Janus-faced nature to respond to different parties' requests and the specific site conditions. As a result, a living monument for thousands of migrant workers is made as the city's true memory.<br>by Weiqian Liu.<br>M. Arch.
31
Gardes, Gilbert. "Le monument public français : l'exemple de Lyon." Paris 1, 1987. http://www.theses.fr/1987PA010659.
Testo completoAbstract (sommario):
Le monument public francais, ephemere (entrees, feux d'artifice, illuminations, fetes revolutionnaires, pompes funebres) et permanent (hydrauliques; religieux; funeraires individuels (concessions honorifiques) et collectifs (monuments aux morts); commemoratifs (culte des hommes exemplaires); decoratifs et abstraits est etudie, du moyen-age a 1986, plus particulierement a travers l'exemple de lyon mais aussi d' autres lieux, au cours de 7 volumes : 1 etude (2 volumes), 871 pages; 2 documents et pieces justificatives (textes officiels, correspondances d'artistes etc. ), 409 pages; 3 catalogue des monuments ephemeres lyonnais, 508 pages; 4 catalogue des monuments permanents, 623 pages; 5 album, 1125 illustrations, 538 pages; 6 annexes (notes, additions, bibliographie, atlas: plans des aitres et des cimetieres lyonnais; 14 plans historiques situant les monuments, index, 435 pages. Le monument public est d'abord envisage de sa naissance a sa mort: existence, fonction, definition, cycle. Promotion, legislation, financement. Emplacement, deplacement. Choix des artistes et des projets. Edification, processus et duree. Longevite, protection, destruction. Mecanisme de la commemoration. Pantheon des hommes exemplaires. Une seconde partie etudie les materiaux et les techniques, les structures architecturales, le discours didactique: inscriptions, representation de l'univers, flore, faune (etude elargie du lion), personnages (divinites, allegories, pantheon lyonnais, incarnations de l'amour de la patrie); l'art de la representation. Une 3e partie replace le monu ment dans le contexte de l'histoire de la cite et de la nation: monuments de la foi et de l'utilitaire (moyen-age 16e siecle); monuments ephemeres du pouvoir en visite (1548-1645); effigies permanentes du pouvoir installe (1646-1738); monuments d'urbanisme et d'urbanite (1739-revolution); monuments de la liberte provisoire (revolution); monuments inacheves des victoires evanouies (1e empire); visage historique de la monarchie (restauration); figure historique de la france (monarchie de juillet); monument interimaire (revolution de 1848); triomphe de l'effigie vide (2e empire); liberte, patrie, progres, statuophilie (1871-1918); monument scenographique (1919-1945); declin du monument commemoratif et essor de la sculpture abstraite (1945-1986). Un essai sur le monument public: cycle historique, expression d'un continuum lieu-espace-temps, langage et fonction acheve l'ouvrage<br>The french public monument, ephemeral (entries, feasts of the revolution, funerals) and permanent (fountains, crosses, statues of the virgin; honorific tombs and war memorials; representations of the monarchy, national & local worthies; abstract sculptures) is studied from the middle ages to 1986 through the example of lyon and other towns, troughout 7 volumes: 1 study (2 volumes), 871 pages; 2 documents: official papers, letters written by artists. . . , 409 pages; 3 catalogue of ephemeral monuments in lyon, 508 pages; 4 catalogue of permanent monuments, 623 pages; 5 album of 1125 photographs, 538 pages; 6 appendix (foot notes, additions bibliography, maps: churchyards & cemeteries, 14 historical town maps locating the position of the monuments, index), 435 pages. The public monument is first studied from its birth to its death: function, definition, cycle; promotion, legislation, financing; location, removals. Choice of artists and projects; construc tion. Life, protection & destruction. Mecanism of commemoration. Pantheon of worthies. A second part studies the materials & the technics, the architectural structures, the language of the monument: inscriptions, representation of the world, plants, animals (with a special study on the lion), gods, allegories, worthies from lyon; personnifications of love for the mother country; the art of representation. A third part replace the monument in the history of town & country: monuments of faith (middle ages to 16th century); ephemeral monuments of the king in visit (1548-1645); permanent figures of the established monarchy (1646-1738); monuments born from town planning & urbanity (1739-revolution); monuments for temporary liberty (revolution); uncompleted monuments for vanished victories (first empire); historical face of the monarchy (restauration); historical figure of fran ce (monarchy of july); temporary monuments of the revolution of 1848; the triumph of the empty figure (second empire); liberty, fight for mother country, progress, passion for statues of worthies (1871-1918); the scenographic monument (1919-1945); from the fall of the commemorative monument to the rise of the abstract sculpture (1945-1986). An essay on the public monument put an end to the book<br>Résumé français et analyse dans le vol. 8
32
Forssberg, Malm Anna. "Kollisioner : Aksel Sandemose som outcast och monument /." Stockholm : B. Östlings bokförlag Symposion, 1998. http://catalogue.bnf.fr/ark:/12148/cb41034344n.
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Pauley, Cassandra C. "Alexander Pope's Opus Magnum as Palladian Monument." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000082.
Testo completo
34
Chan, Yuk-ki Frederick. "Western District Community Centre : a transformed monument /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25952821.
Testo completo
35
Evans, Michael, Richard W. Stoffle, and Sandra Pinel. "Petroglyph National Monument: Rapid Ethnographic Assessment Project." Bureau of Applied Research in Anthropology, University of Arizona, 1993. http://hdl.handle.net/10150/272097.
Testo completoAbstract (sommario):
The Petroglyph National Monument Rapid Ethnographic Assessment Project had two primary goals. One was the identification of those American Indian Tribes, Pueblos, and Spanish heritage groups who wanted to participate in a long -term consultation process with the National Park Service about the management of the new Petroglyph National Monument located outside of Albuquerque, New Mexico. The second goal was to document the cultural resource concerns of the Native Americans and the Spanish heritage people, so that protection of these cultural resources could be incorporated into the General Management Plan that the National Park Service is developing for the Petroglyph National Monument.
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Stoffle, Richard W. "Tonto National Monument Cultural Landscape Assessment Presentation." Bureau of Applied Research in Applied Anthropology, University of Arizona, 2009. http://hdl.handle.net/10150/292645.
Testo completo
37
Evans, Michael J., and Richard W. Stoffle. "Petroglyph National Monument Rapid Ethnographic Assessment Project." Bureau of Applied Research in Anthropology, University of Arizona, 1992. http://hdl.handle.net/10150/296657.
Testo completoAbstract (sommario):
The Petroglyph National Monument Rapid Ethnographic Assessment Project had two primary goals. One was the identification of those American Indian Tribes, Pueblos, and Spanish heritage groups who wanted to participate in a long -term consultation process with the National Park Service about the management of the new Petroglyph National Monument located outside of Albuquerque, New Mexico. The second goal was to document the cultural resource concerns of the Native Americans and the Spanish heritage people, so that protection of these cultural resources could be put into the General Management Plan the National Park Service (NPS) is developing for the Petroglyph National Monument.
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Bidaud, Camille. "La doctrine des Monuments historiques en France d'après Paul Léon (1874-1962)." Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC2205/document.
Testo completoAbstract (sommario):
Guidé par l’hypothèse que la doctrine des Monuments historiques – entre positions théoriques, appréciations subjectives et arbitrages opportunistes – constitue le point aveugle de la restauration en France depuis la fin du XIXE siècle, ce doctorat propose de rouvrir cette question, à partir des textes et des décisions de Paul Léon (1874-1962), principale responsable du Service des monuments historiques dans l’entre-deux-guerres. Bien que son rôle soit souvent méconnu aujourd’hui, Paul Léon a, en effet, une carrière exemplaire aux Beaux-Arts. Il a été responsable du Service des monuments historiques de 1907 à 1932, membre de la Commission de 1907 à 1962 et directeur des Beaux-Arts de 1919 à 1932. Il est de plus l’historiographe du Service. Par ses nombreux écrits, il est le principal auteur de la propagande du Service des Monument historiques pendant la première moitié du XXE siècle. Paul Léon justifie les pratiques en leur créant un cadre théorique sans énoncer clairement la doctrine, ni que cela ne se ressente. L’étude de ces textes, remarquables à ce sujet par leur cohérence et leur répartition chronologique, permet de mettre au jour la continuité des éléments doctrinaux sous-jacents et d’en observer les effets dans les travaux réalisés. Il est donc également nécessaire de questionner la pratique pilotée par Paul Léon, à travers l’analyse architecturale de projets réalisés : trois restaurations phares de la période (Saint-Rémi de Reims, les places flamandes d’Arras et le Palais des papes d’Avignon), qui permet de comprendre les pratiques du Service. Cette analyse permet aussi d’observer les points de cohérences et les omissions des textes de Paul Léon et l’influence de la pratique sur les discours<br>Guided by the hypothesis that the doctrine of Historic Monuments - between theoretical positions, subjective assessments and opportunistic arbitrations - has been the blind spot in restoration in France since the end of the 19th century, the objective of this doctoral thesis is to reopen this issue, based on the texts and decisions of Paul Léon (1874-1962), the main head of the historic monuments Department in the interwar period. Although his role is, today, often forgotten. In fact, Paul Léon has had an exemplary career at the Fine-Arts. He was head of the Historic Monuments Department from 1907 to 1932, a member of the Commission from 1907 to 1962 and Director of Fine Arts from 1919 to 1932. He is also the historiographer of the Department.Through his many writings, he was the main author of the propaganda of the historic monuments Department during the first half of the 20th century. Paul Leon justifies the practices by creating a theoretical framework for them without clearly stating the doctrine, without this being felt. The study of these texts, remarkable for their coherence and chronological distribution, reveals the continuity of the underlying doctrinal elements and allows to observe their effects on the work carried out.It is therefore also necessary to question the practice led by Paul Léon, through the architectural analysis of completed projects as three flagship restorations of the period —Saint-Remi de Reims, the Flemish squares of Arras and the Papal Palace in Avignon—, which makes possible to understand the practices of the Department. This analysis also allows to observe the points of consistency and omissions in Paul Léon's texts and the influence of practice on speeches
39
Xandri, Guitart Marcel. "Monuments "a los caídos por dios y por España" a Catalunya, 1939 a 1970." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/394062.
Testo completoAbstract (sommario):
Aquesta tesi doctoral investiga la interacció que existí entre els ajuntaments i les institucions centrals del govern franquista respecte la gestació dels monuments “a los Caídos por Dios y por España” (o “por la Patria”) erigits a Catalunya entre 1939 i 1970, és a dir des de la victòria de les tropes “nacionals” fins gairebé els darrers anys de la dictadura, i amb una pluralitat d’aspectes relacionats amb aquestes obres que es construïren a l’espai públic amb fins propagandístics, sovint substituint-ne d’altres de commemoració o estil rebutjats pel nou règim instaurat. Així, s’ha descrit els cerimonials o actes rituals d’homenatge relacionats amb aquests monuments, així com el tractament arquitectònic i urbanístic que s’atorgà als espais que allotjaven les obres impulsades per les corporacions municipals i les particularitats locals i factors socioculturals i raons d’organització i normatives que haurien influït en l’elecció d’uns models tipològics i estilístics i llurs emplaçaments i en la gènesi dels projectes i l’execució de les obres, elements en els que s’evidencia un escenari caracteritzat per una multiplicitat de situacions distintes.
La part inicial d’aquest treball es centra en la base teòrica, el context històric i els aspectes de ideològics, propagandístics, estètics i relatius a la idiosincràsia del règim franquista que foren determinants per a la gestació d’aquests monuments. L’anàlisi de les realitats locals s’ha portat a terme per poblacions, agrupant les iniciatives monumentals que es van impulsar, i classificades en quatre grans àmbits territorials: l’àrea de proximitat de Barcelona, la Catalunya central, les terres de Ponent i les comarques nord-orientals. La ciutat de Barcelona s’analitza separadament, com a capital i degut a la seva singularitat, tant en el tarannà artístic i urbanístic com per la seva complexitat i diversitat de monuments.
La reconstrucció de les casuístiques dels diferents municipis i els comportaments dels ajuntaments respecte els procediments seguits, la cronologia i temporalitat amb la que els monuments foren aprovats, dissenyats i erigits i l’elecció dels projectes han demostrat que, contràriament a l’estesa visió d’uniformitat amb la que sovint es contempla aquest període històric, no existia un criteri unificat o una interpretació unitària de les directrius, els estàndards i les normes en la matèria. També s’ha comprovat, en línies generals, una evolució entre les obres construïdes amb major immediatesa en consolidar-se l’ascens de Franco, els monuments definitius que s’alçaren durant els primers dos terços dels anys quaranta i els que veieren la llum amb posterioritat. Tanmateix, també s’ha pogut identificar divergències entre, per una banda, zones en què es preferí seguir una tendència continuista d’uns cànons i convencions estètics com la geometria quadrangular, la sobrietat, les formes classicitzants, la severitat i la verticalitat, que responien a uns dictàmens i principis que, de manera genèrica i difusa, havien emès els dirigents o teòrics propers al règim i integrants del pensament feixista espanyol, i unes ciutats que, per altra banda, apostaren per certa innovació i progrés estilístic i cercaren certa originalitat i diferenciació en les creacions que exhibiren en els seus espais urbans. Relacionat amb aquest fet, cal dir que s’ha revelat, en la compilació de la documentació de tramitació d’aprovació dels projectes per part del poder central, que el control fou major durant el primer franquisme, imposant modificacions que són mostra del moment de major obstinació i rigidesa del règim i, com a resultat, redirigint les decisions locals. Paral·lelament, s’han trobat casos en què es projectaren i aprovaren monuments que mai s’arribaren a construir i en què s’adoptà una solució commemorativa alternativa.<br>This dissertation explores the interaction between local governments and the central institutions of the Franco post-military coup regime regarding the creation and construction of the monuments dedicated to the “Caídos por Dios y por España” (the fallen members of the Fascist bloc) erected in Catalonia between 1939 and 1970 (from the victory of the Fascist troops until the last years of the dictatorship) and a number of related issues. The new monuments were used as part of the propaganda artillery of the totalitarian regime of Franco for its construction of a collective memory and the vindication for legitimacy of conferring heroism to the fallen and linking their death to the laudable subjugation to the will of God, while contributing to the imposition of “Catholic-National” identity. It describes the ceremonial or rituals of homage related to these monuments, as well as the architectural treatment given to the urban spaces that housed the works promoted by the municipalities, often replacing other monuments of remembrance or style that were rejected by the new regime installed, as well as the local particularities and sociocultural factors and organizational reasons and regulations that would have influenced the choice of stylistic and typological models and their locations and the genesis of the project and execution of the works, aspects that demonstrate a scenario characterized by a multiplicity of different situations.
The initial part of this work focuses on the theoretical framework, the historical, ideological and aesthetic context and in regard to the idiosyncrasy of the Francoist regime which were decisive in the gestation of these monuments. The analysis of local realities has been carried out and presented within a classification by towns and geographic areas: the zone of proximity to Barcelona, Central Catalonia, the West of the region and the Northeast. Barcelona is analyzed separately, as the capital and due to its uniqueness in both urban and artistic character as to its complexity and diversity of monuments.
The approach to the various situations, decisions and performance shown by the different local council authorities of the different towns regarding the procedures followed, the chronology and timing with which the monuments were approved, designed and erected and the projects chosen have proved that, in contrast to the widespread view of uniformity of this historical period, there was no unified criterion or unitary interpretation of guidelines, standards and regulations on the matter. It has also demonstrated an evolution, though unevenly, among the works built with greater immediacy after the rise of Franco, the planned monuments that rose during the first two thirds of the forties and those that saw the light later. However, significant differences have been identified between, on the one hand, areas with a remarkable tendency of continuity to preserve the aesthetic canons and conventions (quadrangular geometry, sobriety, classical shapes, severity, verticality), adopting recognizable patterns and respecting to generic principles dictated by the rulers and theoreticians of the Spanish fascism, and, on the other hand, cities that opted for a certain innovation and progress in terms of style and sought originality and differentiation in their creations exhibited in the public space. In addition to this, and revealed by the compilation of documentation of project approval processing, it has been found out that the control by the central power was higher during the first period of the dictatorship imposing changes that are proof of a the moment of greatest obstinacy and rigidity of the regime and, as a result, redirecting local decisions. Simultaneously, several monuments were conceived and approved but never brought to reality.
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Esteves, Ana Cristina Balau. "(Re)desenhar o património." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/18015.
Testo completoAbstract (sommario):
Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.<br>O presente trabalho partiu do interesse pelo património esquecido, no qual se insere a Fortaleza de São Francisco, em Peniche. Debruçada sobre o mar e de atmosfera singular, ela interpela-nos à descoberta da sua história e das camadas que a constroem.
Considerada uma das praças-fortes mais importantes do reino, fez parte do conjunto de defesa costeiro da capital e um dos maiores exemplares de arquitetura militar portuguesa que prevaleceu, não intacta, ao passar do tempo. Dos seus apoios defensivos, pouco ou nada resta.
Parte-se da reflexão sobre o seu valor patrimonial, do carácter e da sua essência. Da ligação entre o património e o espaço que o envolve. Do que o lugar quer ser, do que se pode tornar. Estuda-se a sua evolução, como se alterou no tempo e explora-se as valências que contem, a singularidade do lugar.
Numa tentativa de reavivar a sua importância, de compreender de que modo se reergue um monumento perdido no tempo, apresenta-se uma proposta que assume a sua regeneração, através da ligação entre as suas pré-existências e a atribuição de uma nova linguagem arquitetónica. Concede-se um novo uso, uma nova vivência, como resposta ponderada às fragilidades do lugar.<br>ABSTRACT: The present work started from the interest in the forgotten heritage, in which the Fortress of San Francisco, in Peniche, is located. Leaning over the sea and with a unique atmosphere, it challenges us to discover its history and the layers that build it.
Considered one of the most important strongholds of the kingdom, it was part of the coastal defense complex of the capital and one of the largest examples of portuguese military architecture that prevailed, not intact, over time. Of its defensive supports, little or nothing remains.
It starts from the reflection on its patrimonial value, the character and its essence; the link between heritage and the space that surrounds it. What the place wants to be, what it can become. Its evolution is studied, as it has changed over time and explores the valences that it contains, the singularity of the place.
In an attempt to revive its importance, to understand how a monument lost in time retains, a proposal that assumes its regeneration, through the link between its pre-existences and the attribution of a new architectural language is presented. A new use, a new experience, is given as a pondered response to the fragility of the place.<br>N/A
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Palm, Jessica. "Christo + Jeanne-Claude violence, obsession, and the monument /." Connect to resource, 2008. http://hdl.handle.net/1811/32214.
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Wehlin, Joakim. "Östersjöns skeppssättningar : monument och mötesplatser under yngre bronsålder." Doctoral thesis, Högskolan på Gotland, Institutionen för kultur, energi och miljö, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1815.
Testo completoAbstract (sommario):
During the Late Bronze Age, the number of metal objects in the Baltic Sea region increased tremendously. Mobility and interaction in this northern inland sea intensified. This occurred in a period of prehistory when the ship was the predominant symbol in southern Scandinavia. The ship can be found in rock carvings, on bronze objects and by way of erected stone monuments: stone ship settings. These stone ships are mainly to be found in the Baltic Sea region, with a marked concentration on Gotland. The stone ship settings and their landscape context are the focus of this dissertation. The objective is to clarify whether it is possible to find evidence of social groupings of people in the Nordic Late Bronze Age (1100-500 BC), by focusing on the stone ship monument, adopting a maritime approach. These people might have been part of a maritime institution specializing in trade and long distance journeys during this period, thus achieving a more advanced maritime way of life in the Baltic Sea. Are the ship settings an expression of these specific groups of people, who utilized their practices to position and articulate themselves in the landscape? If such maritime institutions can in fact be traced, there must also be uniformly structured locations for these groups of people to meet in, some kind of antecedents of harbours. By taking an inland sea, the Baltic Sea, as a geographical demarcation, a different perspective of prehistory is attained. The area in the Late Bronze Age and earliest Iron Age (950/900-200 BC) differed from the Nordic Bronze Age sphere. The communities around the Baltic Sea, through the establishment and sharing of mutual interests, seem to have reached a certain degree of consensus. This concordance might well be largely explained by the complex dependency on metal. Such a manifestation would not have been possible without an infrastructure or network, in this case a maritime one. This is something which has previously been overlooked in discussions on the Bronze Age in the Baltic Sea.
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Lindberg, Adrian. "Skeppsformade Gravar : En religiös symbolik eller endast monument?" Thesis, Uppsala universitet, Arkeologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353016.
Testo completoAbstract (sommario):
The aim of this bachelor essay is to study the relation between stone ship settings in Sweden and the symbols occurring on rock carvings, picture stones and metalworks. Are the stone ship settings meant to make the final journey for the dead over to the other side? And serve as a link between our world and the land of the dead? By comparing the theories and interpretations of different scientists and archaeologists I will analyze the different findings and forms of the stone ship settings. The mythology tells tales of the importance of the ship, that it drags the sun from left to right during the day and during the night it goes down under water at the horizon, usually accompanied by animals like horses, fish and snakes. This could be why the direction of the stone ship settings are generally southwest towards northeast, because the sun seems to be at its highest point towards south. A general discussion will be performed during this essay, and to view other archaeologist’s interpretations and research to find answers to what stone-ship settings stands for.
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Nguyen, Phuoc Huu. "Cultural Monument: The Future of The Past City." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/30961.
Testo completoAbstract (sommario):
“Things are changing, but nothing changes, and still there are changes.”
The rise of science and technology facilitate the means to an end. As it seem, many undeveloped countries are rapidly competing to be a part of a modern civilization. Through these rapid revolutions, civilization becomes perplex that also carries the hidden destruction of it’s past ordinary civilization and valuable culture. They replaced many historical building with high tech building. They build wider freeways that alters the urban and their lifestyle forever. Is there an end to a means? As Hannah once said, “Today civilization tends to be increasingly embroided in a never ending chain of ‘means and ends’. “How do we become modern and at the same time return to the Sources,” said Ricoeur.
Here I am writing this event at the present. With the past, I envision the future. However, this future will be its own past. This past is also at one time exist in the Present.<br>Master of Architecture
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Swetnam, Thomas W., Christopher H. Baisan, Peter M. Brown, and Anthony C. Caprio. "Fire History of Rhyolite Canyon, Chiricahua National Monument." Cooperative National Park Resources Studies Unit, School of Renewable Natural Resources, University of Arizona, 1989. http://hdl.handle.net/10150/246091.
Testo completo
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Stoffle, Richard W., Rebecca Toupal, Vlack Kathleen Van, de Valdes Rachel Diaz, Sean O'Meara, and Jessica Medwied-Savage. "Native American Ethnographic Study of Tonto National Monument." Bureau of Applied Research in Anthropology, University of Arizona, 2008. http://hdl.handle.net/10150/271212.
Testo completoAbstract (sommario):
Tonto National Monument was established by President Theodore Roosevelt on December 19, 1907 in order to protect and preserve the cliff structures and other archeological sites that were deemed places of “great ethnographic, scientific and educational interest” for future generations. The land that encompasses Tonto National Monument has been used by Native American peoples for at least 10,000 years. For the purpose of addressing their consultation responsibilities under the federal law and mandates, the National Park Service contracted with the Bureau of Applied Research in Anthropology (BARA) at the University of Arizona (UofA) to complete a Native American site interpretation study at Tonto National Monument.
The purpose of this study is to bring forth Native American perspectives and understandings of the land and the resources. This study has helped to foster relationships between the Monument and the tribes. Close relationships with contemporary tribes hold the potential of learning more about the Monument’s cultural history and its continuing significance to Indian peoples. This increased awareness of contemporary Indian ties to the Monument, and to the surrounding region, will help the NPS design interpretative programs and manage resources in a culturally sensitive manner.
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Clark, Douglas. "The neo-monument : monuments of dissent and their emergence in western culture in the late 20th and early 21st century." Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/10426/.
Testo completoAbstract (sommario):
This research addresses contemporary art practice and the monument in the 21st Century. In doing this, the notion of the monument in this research is considered to be an art object, conceived by artist(s) to memorialise, remind, instruct, or warn the public, as in the original derivation of the word ‘monument’. The late 20th Century started to see, in part, the democratisation of the monument. Here I propose that he traditional monument has always been political and a tool of the ruling elite. However, where previously the ‘Establishment’ influence was absolute, in recent times, some artists have sought creative space to place more controversial work in the public arena. Released from the restraints of authority, new monuments have been created that question the vicissitudes of our existence and it is this field of artistic practice that is the central issue in this research. Unlike monuments of the past, although they might have sprung from an historical event, these new monuments are less about memorial and more about the present. Often they ask demanding questions of our culture, our governments and of us, the people. Significantly, they are ‘monuments of dissent’ and because of their rejection of the status quo, it is proposed here that they should be termed ‘Neo-Monuments’. Whereas traditional monuments were normally to be found on the street, in the square or park, these spaces have now been augmented by an increasing number of publicly accessed galleries. We will see that there is now a more open-minded approach to critical, questioning even provocative monuments, and that we are seeing them both in galleries and in the public milieu. It will be argued that they are however still viable forms of communication. This research is informed by the creation, exploration, experimentation and analysis of my own art practice. Conclusions gained from this practice will be used to inform this research. Additionally, case studies of other artists engaged with the form and development of the neo-monument will be analysed to understand their rationale, and from this to determine what sets their work apart and allows them to be regarded as a neo-monument. This research will reflect on art-monuments created from the last quarter of the 20th Century until the present.
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Caleiro, Luis Filipe. "O castelo observatório." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2020. http://hdl.handle.net/10400.5/20399.
Testo completoAbstract (sommario):
Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.<br>Palimpsesto está ligado à literatura e ao ato da escrita sobre o pergaminho onde o ato de apagar a primeira escrita para dar lugar a uma nova faz surgir o conceito. Assim, há́ uma parte da história que é oculta através de outra, apesar de remanescerem sempre as marcas da anterior. Palimpsesto poderá́ estar associado à arquitetura quando advém da reabilitação de um determinado objeto com o intuito de lhe atribuir um novo uso. (HUYSSEN 2014)
O projeto final de mestrado pretende que a intervenção na fortificação da Vila de Mourão, estabeleça uma nova utilização do património arquitetónico militar e por conseguinte uma nova organização espacial, que permitirá valorizar a evolução histórico-arquitetónica da fortificação, a sua implantação geográfica e as novas obras de reabilitação propostas, interligando entre si, a arquitetura militar, a ciência e a tradição, através da criação de um observatório astronómico a funcionar na fortificação. A presente dissertação encontra-se apoiada, no estudo do património arquitetónico militar da fortificação e na análise socio- cultural evolutiva da vila e do próprio castelo.<br>ABSTRACT:Palimpsesto is linked to literature and the act of writing on parchment where the act of erasing the first writing to give way to a new one makes the concept arise. Thus, there is one part of the history that is hidden through another, although the marks of the previous always remain. Palimpsesto will be able to be associated with architecture when it comes from the rehabilitation of a certain object with the intention of assigning it a new use. (HUYSSEN 2014)
The final master's project intends that the intervention in the fortification of Vila de Mourão establishes a new use of the military architectural heritage and a new spatial organization that evaluates the historical-architectural evolution of the fortification, its implementation and the new rehabilitation works. proposals, interconnecting themselves, a military architecture, a science and tradition, by creating an astronomical observatory to perform a fortification.<br>N/A
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Edmonds, Markus. "Ett anspråkslöst monument : En lokalhistorisk studie om Bergunda kanal." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-70518.
Testo completo
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Childs, Erin. "Take Me to the River: Revitalizing LA's Lost Monument." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/56.
Testo completoAbstract (sommario):
The tale of South Korea's Cheonggyecheon River is one to warm an urban environmentalist's heart. Cheonggyecheon runs through the center of Seoul, a bustling metropolis of ten million that has been the capital of Korea since the 14th century. The Japanese were the first to sacrice Cheonggyecheon on the altar of urbanization, turning the River into a sewage system during their 35 year occupation between 1910 and 1945. Already thusvdegraded, it was easy for later administrations to eventually completely cover the river with the Cheonggye Road and Cheonggye Elevated Highway between 1958 and 1976. Cheonggyecheon became an exemplar of the expendability of urban environments in the face of modernization and economic growth, particularly the need for transportation in a quickly developing city. In the early 1990s it was discovered that extensive repair would be necessary to maintain the Highway, and with heavy political leadership of Mayoral Candidate Myung-Bak Lee, now the president of South Korea, the decision was made to restore the river rather than repair the road (Park, 2006).