Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-06-29T18:43:55Z No. of bitstreams: 2 Dissertação - Irina Alencar de Oliveira - 2015.pdf: 15641684 bytes, checksum: e7c98b950ee7eabdcca238af4bb74c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Cláudia Bueno (claudiamoura18@gmail.com) on 2017-07-07T19:33:27Z (GMT) No. of bitstreams: 2 Dissertação - Irina Alencar de Oliveira - 2015.pdf: 15641684 bytes, checksum: e7c98b950ee7eabdcca238af4bb74c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-07-07T19:33:27Z (GMT). No. of bitstreams: 2 Dissertação - Irina Alencar de Oliveira - 2015.pdf: 15641684 bytes, checksum: e7c98b950ee7eabdcca238af4bb74c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-08-28 / It is proposed to research the urban permanences verified in the initial core of Goiânia, as from Goiás Avenue, its most symbolic and expressive stretch. It starts with the analysis of the political discourse disseminated by Pedro Ludovico Teixeira, in favor of moving the capital to a place better adjusted to his political interests, after the triumph of the Brazilian Revolution of 1930. Therefore, he builds powerful social representations, based on the images of the old and the new capital, in order to oppose those against this change and consolidate his government. In addition to the speech and propaganda, Ludovico uses, as a statement element, the urban plan designed by Attilio Corrêa Lima, creating a modern intentional monument to be immortalized, translated by the monumental Goiás Avenue. Then, the city experiences a vertiginous growth in its territory and population, mainly after the 1950s, resulting in the disfigurement of its pioneering core. The spatial transformations verified in Goiás Avenue are representative of this scenario, such as its verticalization process and the changes in its layout to meet the demands from the public transportation. From these losses, consequences of the progressive mentality that is rooted in the local culture, arise the first initiatives to preserve the material evidences of the beginning Goiânia, culminating with its federal preservation in 2003. From this institutionalization as a national heritage, it is focused the appropriation by the city inhabitants, through the research of the urban imaginary created since the pioneer’s city until the present day, highlighting striking points in this trajectory. For that, it is used literature in prose and verse to reach the local collective memory, focusing on the capital early years and on the current city - violent, disjointed and that is forgetting its history day by day. / Esse trabalho investiga as permanências urbanas verificadas no núcleo inicial de Goiânia, a partir da Avenida Goiás, seu mais simbólico e expressivo trecho. Parte-se da análise do discurso político difundido por Pedro Ludovico Teixeira, em defesa da transferência da capital para um local mais ajustado aos seus interesses políticos, após o triunfo da Revolução de 1930. Para isso, ele constrói poderosas representações sociais, fundamentadas nas imagens da velha e da nova capital, visando combater os antimudancistas e consolidar seu governo. Além do discurso e da propaganda, Ludovico utiliza o próprio plano urbano projetado por Attilio Corrêa Lima como elemento de afirmação, criando um monumento intencional moderno a ser eternizado, traduzido através da monumental Avenida Goiás. A partir de então, a cidade vivencia um crescimento territorial e populacional vertiginoso, sobretudo, após a década de 1950, resultando na descaracterização de seu núcleo pioneiro. As transformações espaciais verificadas na Avenida Goiás são representativas desse cenário, a exemplo de seu processo de verticalização e das modificações em seu traçado para atender às demandas do transporte coletivo. Sentidas as perdas, em consequência da mentalidade progressista que se arraiga na cultura local, surgem as primeiras iniciativas para preservação dos testemunhos materiais da Goiânia dos primórdios, que culminam com o tombamento federal em 2003. A partir de sua institucionalização como patrimônio histórico, volta-se o olhar para sua apropriação por parte dos habitantes locais, através da investigação do imaginário urbano formado desde a cidade dos pioneiros até a atualidade, destacando-se pontos marcantes nessa trajetória. Utiliza-se, para tanto, a literatura em prosa e verso para atingir a memória coletiva local, com foco nos primeiros anos da capital e na cidade atual, violenta, desarticulada e que vem se esquecendo de sua história a cada dia.

AFRIKAANS : Die Simboliese Ossewatrek wat op 8 Augustus 1938 by die Van Riebeeck-standbeeld in Kaapstad begin het en op 16 Desember 1938 met die hoeksteenlegging van die Voortrekkermonument in Pretoria geëindig het, het tydens die honderdjarige herdenking van die Groot Trek grootliks tot die oplewing van Afrikanernasionalisme en Afrikaneridentiteitsvorming bygedra. Tydens die Voortrekkereeufeesvieringe in 1938 het die waens na beraming by meer as vyfhonderd dorpe en plekke aangedoen waar entoesiasties feesgevier is met historiese optogte en opvoerings, kerkdienste, toesprake en feesredes en die lê van ’n klipstapel of die onthulling van ’n monument of gedenkteken wat spesiaal vir die geleentheid opgerig is. Die doel van die studie was om eerstens ’n gedetailleerde databasis saam te stel oor die minder bekende monumente en gedenktekens wat in 1938 dwarsoor Suid-Afrika opgerig is en om hulle sover moontlik behoorlik te dokumenteer. Tweedens is die relevansie, kulturele betekenis en bewaring van die tasbare onverskuifbare erfenis in ’n post-apartheid Suid-Afrika geëvalueer en bespreek. ENGLISH : The symbolic ox-wagon trek that started on 8 August 1938 at the Van Riebeeck statue in Cape Town and ended with the foundation stone laying of the Voortrekker Monument in Pretoria on 16 December 1938, contributed to the revival of Afrikaner Nationalism and the forming of an Afrikaner identity. During the Voortrekker Centenary celebrations in 1938 the wagons visited more than five hundred towns where the inhabitants enthusiastically celebrated the event with historical pageants and processions, church services, speeches and usually stone cairns were layed or a monument or memorial was unveiled to commemorate the occasion. The main aim of this study was to compile a detailed database about these often unknown monuments and memorials that were erected all over South Africa in 1938 and to document them as far as possible. The second aim was to evaluate and discuss the relevance, cultural significance and preservation of these unmovable heritage structures in a post-apartheid South Africa. / Dissertation (MHCS)--University of Pretoria, 2008. / Historical and Heritage Studies / unrestricted

CHARLES UNIVERSITY IN PRAGUE FACULTY OF SOCIAL SCIENCES Institute of International Studies Elisabeth Anna Hobl Changing the interpretation of monuments for the purpose of influencing the Czechoslovak collective identity through Rudé Právo and presidential speeches (1948-1957) Masters thesis Prague 2015 Abstract The Communist Party of Czechoslovak (KSČ) tried self-servingly to shape the interpretation of Czechoslovak history. National identity can theoretically change over time by adapting amongst others collective memory. As collective memory also consists of several components the thesis focuses on early attempts to influence Czechoslovak national identity by altering the meaning of certain historical events represented by specific monuments in the period 1948- 1957. A monument's meaning derives from discourse and traditions. The analysis shows that Rudé Právo articles and Presidential speeches were part of a discourse used to influence the meaning of monuments. The case studies: Bethlehem Chapel was to symbolize the historical Hussite legacy continued by the KSČ; the Monument of National Liberation was to commemorate World War Two soldiers and important communists; the Monument of the Soviet Tank Drivers was to commemorate the Red Army as Czechoslovakia's sole liberator. These interpretations were meant...

The protection of monuments in Slovakia is mostly concentrated on „classical“ examples of cultural heritage (castles, historical city centers). It is not paying much attention to industrial buildings, which are important documents of national development in European context from the era of industrialization. These buildings are often also on the edge of public interest, due to their brownfield character, what places then into the great risk. Because many of these buildings are in private hands, it is often complicated to define the protection policy. It is in the interest of healthy development of society to protect cultural heritage as part of its own identity. The thesis is monitoring approaches to protection of monuments in Slovakia, as well as in global context and offers alternative approaches in terms of protection of industrial heritage.

The diploma thesis deals with the creation of a design for a new building of the center of contemporary art and architecture and the use of existing reservoirs on Yellow Hill in Brno with the possibility of changing their original function. The work deals with the possibilities of processing the original terrain and the connection of the proposed new buildings to existing reservoirs. Architecturally, it explores the possibilities of designing new buildings contextually with the current architectural expression of the surrounding buildings and past architecture. The current situation is that a beautiful architectural and engineering monument, such as the reservoirs on Yellow Hill, is practically closed to the eyes of ordinary people. Only one of the three reservoirs is open to visit - the oldest brick reservoir built in 1872. The main goal of my work was therefore to make the reservoir area accessible to the public and to give people the opportunity to visit all three reservoirs. To this end, it was necessary to design entrance pavilions and safe entrances to the reservoirs and to fill the reservoirs with a new function, because the reservoirs were terminated in 1997, when they were disconnected from the water supply network.

Master of Regional and Community Planning / Department of Architecture / Huston Gibson / National monument to national park re-designation can be identified as a controversial issue that poses an array of implications for surrounding communities. These perceived implications have the ability to create or change policies, regulations, economic development, marketing, quality of life and other direct or indirect impacts to communities. In 2010, Grand Junction, Colorado proposed re-designation of the Colorado National Monument to a national park. The community expressed split views on the issue expressing concerns on issues such as the preservation, traffic, regulated uses, restrictions, government imposition, property values, infrastructure, costs, economic prosperity and other impacts that might occur from re-designation. A multiple case study was conducted in order to determine if there were any significant impacts to other communities that had gone through similar re-designation efforts. The Community Capital Framework was used in determining the assets investigated for the years of 2000 and 2010. The findings of this study suggest that there are no substantial apparent impacts within the locations of past re-designation. Grand Junction had somewhat parallel findings to the other sites, even without the presence of re-designation. Suggesting, the re-designation efforts should be focused less on the community impacts and more on the short-term vs long-term park/monument effects.

Transit Objects   In the Master Essay I argue around two existing levels in the works presented at the graduation exhibition. On the one hand, it is about influence; on the other hand it is about the phenotypes of purpose-ness. In the introduction, I describe the relationship between the shapes that I have come to call Transit objects, and their on the one hand ideological superstructure; on the other hand, the different aspects of their shapes regarding the imitation I, in creating the objects, performed. In the case with the objects shape-aspects, I stand on the thoughts that I found during my bachelor's work, that is, to express the phenotypes of purpose-ness. When it comes to influence, I speculate about how linguistics, and particularly a branch called neuro-linguistics, illustrates how the arguments that make up our world can be transformed. I use a meta-model and a conversation model as a tool to illustrate this. When I, like that, illustrate the plasticity of meaning, and cognition, I note Catherine Malabous taught (in her book What Should we do with our brain?) on the plasticity of the brain in relation to the neo-liberal systems of capitalism. She argues for how the brain has come to stand model for the organization of different types of networks. I hint the link to a future scenario where the desire to influence takes new forms and uses the latest brain research challenges, more specifically the use of ultrasound for the treatment of pain and other similar conditions. This also can be used as generating various types of seizures, pleasant or unpleasant. The next section in my text goes into the background of the artworks on display. I describe here my process. I also here describe the background to the proposal for public art in Gävle. Now follows a more detailed description of the series of works that I created during the Master's program. I begin with a description of the Phantom Objects 001-004, 2011, which basically is more linked to the bachelor's work. I describe this in the text because many of the aspects are still relevant in the series of works my master work consists of. Then I describe the EUR-pallet in Rosewood, 2011, presented at the graduation exhibition. EUR-pallet in Rosewood, is a work in which I shifted the scale of a Euro pallet to a scale of 1:2. In this way, it has moved into a “gray area” when it comes to its purpose. This is reinforced when the material is, unlike an ordinary Euro-pallet, here elevated to the veneer in Rosewood. I have "gilded" this very common design. EUR-pallets are included in global trade, or streams. They are durable and robust object with a distinct function. They are transit objects constantly in transit or waiting for new loads. I do these things manageable, further reified, and transparent. In this way, I open their innermost being and essence, the functional, and move it into a different light for a clearer sense of their mystery, clearer sense of their tangible presence and function in space and time. I give the shape a more open body language when the burden of function is eased. Which does not mean that the function is plundered, it is partially retained, inherent in the construction design, but stripped of its anonymity, strength and the standardized measure that makes it an effective part in a logistic machinery. Then I describe the work Billboard (STEALTH-monument for Joe Hill), 2012. This work is my proposal for public works in Gävle during the collaborative project between the Konstfack College of Arts and Gävle Art Centre (The collaboration is called Hello Gävle). It is presented as an advertising pillar, which measures approximately 15x30 centimetres (scale approx. 1:13) that I have sculpted and cast in aluminium. I emphasize this in Sweden common structure used for messages and announcements, and displaces the shapes purpose; I illustrate, unmask, isolate or "exalt" in this way it’s (in all its frivolity) concrete, concentrated form. In case of construction, the shape, in one copy, be at a scale of 1:1, that is about 3 meters tall and with each side about 1.3 meters wide. Then a description of the piece container, 2012. I saw a picture in a newspaper. I was dazed and said when I saw the picture, how beautiful it was the landscape of thousands of containers in different colours. For me there was something human and inhuman at the same time in that port. I do these constructions manageable, transparent and thus their enigmatic choreography and interior approaches me. Containers exist for transporting objects from different physical locations. The global circulation these constructions are organized in are well-planned and for an outsider hard to grasp. It is a diverse duplicated place where different actors meet and negotiate. Although there is something buried inside the container. It is ubiquitous, but at the same time exclusionary. This is almost the same inaccessibility as when it comes to the celestial bodies’ cyclical paths. Is there not something demanding, a form with such a clear function. A desire to be used in accordance with its intended context. As with the message, for example, from a billboard, it call to be understood in line with the context, but the global container flow are speaking without a sender. The clear bright colours. Red, blue, green, reminiscent of stained glass windows in churches. Are these containers, in fact, the holiest of places? One room, while at the same time thousands of rooms. The doors are opened and closed, and there is delivered a flood of heard prayers. One room, which in its variety is endless. A flexible place. A capitalist utopia. Next, a description of the work Carbon-bars, 2012. During the manufacturing process for Billboard (STEALTH-monument for Joe Hill), I made some experiences that made me interested in carbon as material in a future work. I imagined doing a variation of the billboard in coal. But after consideration and new experiences, I was aware of the bars. It was during my visit to the casting-industry where I saw the bars. Thereafter, the work was ready for fabrication The Carbon-bars are manufactured in an opposite logic than that of the EUR-pallet in Rosewood. Instead of "gild" the object I have here, "charcoaled" it, a form that can directly be read as being a bar. It is a paradoxical play with symbols of value. On the one hand the bar is generally associated with gold, on the other hand, the carbon for me associated with transience and uselessness without value. The human body consists of a number of kilograms of carbon. In the global economy, I am considering the "coin base" for a human. It seems in the banking crisis and its oil's wake consists of a 'charcoal-base", a "coal-human base." A man in the global market is priced for the weight in coal. In the final discussion I argue about my interpretation of the contemporary global flow of messages and objects in relation to Brian Holmes, Edward Bernays, Slavoy Zizek, Rosalyn Deutsche, Walter Lippman and Adam Curtis. From need to desire is a general explanation of how capitalism manages a market where basic needs are satisfied and hence, according to the logic of capitalism (but perhaps also human logic) new has to be created. Edward Bernay (who coined the term public relations as a euphemism for propaganda) was a genius when it came to this type of business: to create a "friendly arrangement” between the companies and the public. The amicable agreement Bernay talking about is, I think, in fact, the The Phantom Public Walter Lippman define. It's a public with the phenotypes of public working for a friendly agreement and arrangement between the consumers/ population and the profit hungry companies/ mafia. Brian Holmes points out Thomas Frank who argues that fashion designers and advertisers have their own existential interest in transforming the system, and that "… the result…” at least during the sixties, “…was a change of 'the ideology by which business explained its dominant position in national life"'. Here sounds Bernays amicable agreement again. An agreement continuously produced and as a result of the production is accompanied by Transit Objects.

Bam Citadel is a unique complex with some mediocre buildings in it. Construction started in the Achaemenid period (550–330 BC) and is still being completed and repaired up to the 21st century. Although the Bam region is located in south-western Iran in an active seismic zone, the City of Bam had not reported any major historical earthquake before 26th Dec. 2003. The massive earthquake that day killed or injured more than 37,000 people and most of the city collapsed. Bam Citadel became a unique adobe complex for the World Heritage community after this disaster. According to the surveys, the earthquake caused damage to about 23% of the ancient monuments close to and inside the Citadel. Most of the ruins were the parts that already added to the main body of work or were repaired during the last intervention of 1993. For this reason the technical method, used for the enhancing of the adobe building, is highlighted as the main task. There are four items which are very important for any seismic upgrading in heritage sites: seismology of the area, quality of the construction, function of the building and cultural values. A wide variety of intervention strategies and techniques have been considered for the repair and the seismic retrofitting of the adobe buildings in the Citadel. With respect to that point, the possible relationship between the cultural values and seismic upgrading are always polar opposites. Obviously the buildings in Bam Citadel have many problems, for example the geometry data are not available, there are large variability layers, construction sequence is unknown, existing damage in the structures is very serious, regulation and codes are non-applicable and so on. In fact in this research I am trying to adjust the stability and safety measures with values of the cultural heritage property as much as possible; on the other hand I am trying to optimize the strengthening methods to an acceptable amount of side affect on values. This PhD thesis focuses on the strategies and the techniques that have been applied to preserve the historical monuments and to evaluate the traditional and modern engineering methods that are used in conservation projects in Bam Citadel.

Die spätgotischen Wandmalereien in Bayerisch-Schwaben/ Allgäu verdienen aufgrund ihrer Ikonographie, Geschichte und Maltechnik größere Beachtung. Erstmalig werden sämtliche überlieferten Wandmalereien – einschließlich der nicht mehr sichtbaren – und deren Geschichte dokumentiert. Fragen nach den Wohltätern und Stiftern, den Künstlern sowie den an der Erhaltung und Wiederherstellung dieser Malereien beteiligten Personen, deren Motive und methodisch-technische Vorgehensweisen werden näher betrachtet. Ausgehend von dieser Studie ist es schließlich möglich, die Entwicklung der Bayerischen Denkmalpflege als auch die Konservierungs- und Restaurierungspraxis von Wandmalerei und die damit verbundene Methodik, Ethik und Ästhetik zu präzisieren. Das Ergebnis ist eine Konkretisierung unterschiedlicher Einflüsse zur Entstehungs- und Veränderungsgeschichte der Wandmalereien, wodurch das derzeit zur Verfügung stehende Wissen erstmals in einem monographischen Kompendium kontextualisiert wird und gleichzeitig eine Lücke in der Erforschung der mittelalterlichen Wandmalerei in Bayern schließt. / The late Gothic wall paintings found in Bavarian-Swabia/ Allgäu deserve significant attention in terms of their iconography, history and painting technique. This thesis first considers traditional wall paintings – including those that are no longer visible – and their history. The research focuses on the sponsors, artists and those involved in the conservation and restoration of these wall paintings. The methodological and technical approach of people involved in conservation is closely examined. It is possible to clarify not only the development of the Preservation of Monuments but also the methods adopted to conserve and restore wall paintings and the methods, ethical and aesthetic perspectives involved. This thesis thus addresses a gap in the research already carried out on Gothic painting in Bavaria. It elucidates and brings together the various influences at work and presents a compendium on the evolution, history and conservation of wall paintings.

A Cripta Imperial, no Monumento à Independência, localizado às margens do riacho Ipiranga, em São Paulo, foi construída em 1952 para abrigar os remanescentes humanos dos monarcas responsáveis pela Proclamação da Independência do Brasil. O imperador D. Pedro I foi trasladado para São Paulo em 1972, e sua primeira esposa, a Imperatriz D. Maria Leopoldina de Habsburgo-Lorena, em 1954. Em 1982, recebeu os despojos da segunda esposa de D. Pedro I, a Imperatriz D. Amélia de Beauharnais Leuchtenberg. Por muitos anos, o Monumento à Independência foi um dos principais monumentos do país, sendo visitado por vários chefes de Estado que passavam pela capital paulista. Entretanto, apesar de reformas feitas no final dos anos de 1990 e início dos anos 2000, o local sofre há décadas com a infiltração de água, causada pelo relevo natural do terreno em que se encontra e também pela falta de manutenção. Hoje é comum os visitantes não acreditarem que os remanescentes humanos dos primeiros imperadores do Brasil estejam inumados no local. Há até mesmo quem diga que são as cinzas dos monarcas que estão ali. Foi pensando nisso que decidimos fazer este trabalho, buscando respostas sobre esses remanescentes humanos, seu estado de conservação, bem como o do material associado, visando à preservação e possível restauro. / The Imperial Crypt on the Independence Monument, located on the banks of Ipiranga creek in São Paulo city, was built in 1952 to house the human remains of the monarchs responsible for the Proclamation of Independence of Brazil. Emperor Dom Pedro I was transferred from Portugal to São Paulo in 1972 and his first wife, Empress Dona Maria Leopoldina von Habsburg-Lorraine, was transferred in 1954. In 1982 it received the remains of the second wife of Dom Pedro I, the Empress Dona Amélia de Beauharnais-Leuchtenberg. For several years, the Independence Monument was one of the main monuments in the country, visited by many heads of State who passed through the capital of São Paulo State. However, despite reformations made between late 1990 and early 2000, the site suffered for decades with infiltration of water, caused by natural site relief and also by lack of maintenance. It is common now visitors don\'t believe that the human remains of the first emperors of Brazil are buried in the site. There are even those who say that just the ashes of the monarchs are there. By thinking about that we decided to do this work, seeking answers about human remains of the Emperors, their conservation status, as well as the associated material aiming to preserve and possible restoration.