The earliest graves that are found in Sweden is the megaliths, the huge stone monuments created with boulders and open entrances. The megaliths origin is from the Middle Neolithic’s, but they have been reused for several millenniums. The very act of constructing these monumental stone chambers for the dead shows that these monuments were built to last through time. This master’s thesis deals with four different kind of grave types that spans through four different time periods in Southwestern Sweden. After the Middle Neolithic, monumental graves the hällkistan (stone cists), became the dominant grave type during the Late Neolithic. The cist varies in construction, some are meant to be entered but most are closed. During the Bronze Age a new kind of cists continues to be used and new are constructed although the culture tends to create big heaps, cairns, around the cist. During the late Bronze Age and early Iron Age the construction of the graves changes and the cists are instead present on grave fields. The paper compares the similarities between the graves, megalithic tombs, stone cists, cairns and grave fields, in their monumentality, construction, accessibility, content, and focuses heavily on the transmission between the grave types through the theoretical concept of Longue durée. I have also chosen to focus on the tradition of reuse, and Pierre Nora´s theoretical concepts about memory sites and memory environments. The slow slight changes to the grave traditions, constructions and rooms shows changes in ideology of the contemporary culture. My main focus is to identify and discuss the transformation of the grave room, from the Middle Neolithic monumental stone construction to the late Iron Age grave fields. Through my understanding of this process, I argue that the mentioned grave types are the same type of monument that slowly changes through a time span of roughly 4000 years. The changes are visible through very slight and slow processes.

The objects discovered in Tomb 79 at the necropolis of Salamis, Cyprus have garnered much attention since their discovery. The material from this tomb, however, needs an in-depth, object-by-object analysis that will lead to a greater understanding of the burial as a whole. In my thesis, I offer a detailed case study of a single item, an ivory-covered wooden chair—so-called Throne Γ—as exemplifying an approach to this analysis. Based on the excavation team’s exacting reconstruction, the chair is four-legged with armrests and a slightly curved backrest. Ivory overlays the entirety of the chair except on a few sections of the backrest where the wood shows through. Here as well, both figural and geometric designs decorate the ivory, and the top bar was originally overlaid with gold. As a whole, Throne Γ would have appeared as a solid ivory object, embellished with wood and gold, and was likely draped with textiles. In this study, I analyze Throne Γ as an agent of identity. To do so, I follow the example of other scholars such as Irene Winter and Marian Feldman and employ the theory of object agency, addressing Throne Γ as an affective entity. When placed in a social context—i.e., when involved in human interaction—such agentive objects actively influence their surroundings. In this case, I analyze how Throne Γ affected the individual in whose tomb it was buried. I argue that through its various affective “mechanisms”—its nature as a luxury object, the value of its ivory material, its sensory qualities (including luminosity, texture, and fragrance), its iconography, and its ritual function—Throne Γ projected a king-like identity upon the deceased individual from Tomb 79. His actual political and social power during his lifetime, however, may have been less than that suggested by the mechanisms of the chair. The inclusion of Throne Γ in the burial was therefore a conscious choice and the identity the chair projected deliberate. It was meant to agentively mark, and thus legitimize, the deceased as a politically-able, diplomatically-savvy, and divinely-touched figure in the early days of monarchy on Cyprus. / text

[pt] A programada negação da história pelo Movimento Moderno tornou problemática a concepção do monumento, um tema fundamental à arquitetura em qualquer época de seu desenvolvimento. Somada a esta rejeição, o pensamento racionalista e a crença na máquina e na técnica como solucionadoras de problemas sociais levaram à minimização da importância da subjetividade e da simbolização como fatores essenciais à criação arquitetônica, especialmente para temas em que se exigia a monumentalidade. São analisados contributos teóricos por parte de agentes culturais na modernidade, em especial os debates ocorridos entre as décadas de 1930 e 1950. Observase, entretanto, que, antes mesmo desses debates, a produção de arquitetos apontava direções para a concepção de monumentos que incorporassem o espírito de seu tempo. Defende-se que as noções de monumento e monumentalidade tiveram, neste processo, que passar por uma reconsideração, adotando valores anteriormente desconhecidos ou pouco considerados, mas caros à modernidade. Desse modo novas noções de monumento e monumentalidade se consolidaram com o próprio desenvolvimento da modernidade, para se chegar hoje a entendimentos que incorporaram conhecimentos e desenvolvimentos realizados em outras áreas ao longo do século XX. / [en] Modern Movement s planned denial of history rendered problematic the creation of monuments, a basic architectural theme throughout its history. Besides, rational thought and belief in technics and machines to resolve social matters guided to diminishment of the importance of subjectivity and symbolism as essential aspects to architectonic creation, particularly when monumentality counted. Theoretical contributions by last century cultural agents are analyzed, especially debates that took place between the 1930 s and the 1950 s. One can notice, otherwise, that even before those debates, some architects works pointed towards the creation of monuments in pace with the spirit of their time. It is maintained in this work that the notions of monument and monumentality had to go through a reconsideration, when, accordingly to new cultural values, previously unknown or little considered aspects were taken. This process led to new notions of monument and monumentality that incorporated XX century developments and knowledge from other areas.

A tese aborda um conjunto de imagens do eixo monumental de Brasília realizadas pelo fotógrafo francês Marcel Gautherot no início da década de 1960. Num primeiro momento, analisa o sentido épico dessas imagens, cotejando-as com narrativas históricas e de caráter mítico sobre a fundação da capital. Relaciona as escolhas formais de Gautherot com propostas estéticas de Le Corbusier nos anos 1920, e com concepções de Lucio Costa e Oscar Niemeyer sobre monumentalidade, arquitetura e arte. Analisa a presença das fotografias em questão em revistas e exposições nacionais e internacionais sobre a arquitetura moderna realizada no Brasil. Discorre a respeito do emprego de uma luz contínua e modelada em concomitância com sombras marcantes, longas e densas como uma das principais estratégias de composição de Gautherot na representação do urbanismo e da arquitetura de Brasília como obras de arte. A tese defende que, além da relação iconográfica direta entre fotografia e assunto, as imagens de Gautherot condensam uma rede complexa de propostas estéticas, revelando não apenas as referências de sua formação francesa, mas também a noção de arquitetura como obra de arte e o partido monumental defendidos por Lucio Costa e Oscar Niemeyer em suas obras para a capital. / The thesis analyses a set of Brasilias civic center pictures made by the French photographer Marcel Gautherot in the early of 1960s. At first, it analyses the epic meaning of the images comparing them with historical narratives and myths on the capitals construction. The text connect the formal choices of Gautherot with aesthetical proposals made by Le Corbusier in the 1920s, and with Lucio Costa and Oscar Niemeyers ideas on monumentality, art and architecture. It analyses pictures published in magazines and shows, national and international, about Brazilian modern architecture. The text discuss the use of a continuous and uniform light which appears at the same time that deep and long shadows as one of the most important strategies of composition used by Gautherot in order to represent the urbanism and architecture of Brasilia as works of art. The thesis argues that besides the iconographic relation between photography and its subject, the images made by Gautherot concentrate a complex set of aesthetical proposals that reveal the references of his French education, as well as the notion of architecture as a work of art and the monumental concept defended by Lucio Costa and Oscar Niemeyer for Brasilia.

Ceremonial Architecture at Cerro Azul: The Huarco Polity and Inca OccupationThis article is an architectonic study of the archeological site of Cerro Azul, which was constructed and occupied by the Kingdom de Huarco from approx. 1100-1470 A.D. and reoccupied by the administration of the Inca empire. The unique architecture of the site was adapted to its seaside setting and its geographical surroundings. The part of the building analyzed here —Structure I— provides an example for allowing us to understand the cosmological vision, including its ritual functions, on the basis of which this site was laid out. / El presente artículo está basado en un estudio arquitectónico del sitio arqueológico de Cerro Azul, edificado por la sociedad del señorío de Huarco (1100-1470 d.C.) y reocupado por la administración inca. La organización espacial está definida por su cercana relación con el mar y por los accidentes geográficos que lo circundan, lo que le otorga un carácter especial al paisaje en el que la arquitectura se inserta. El edificio analizado, la Estructura I, da pautas para comprender una cosmovisión donde los espacios debieron diseñarse en función de eventos rituales consistentes.

A tese aborda um conjunto de imagens do eixo monumental de Brasília realizadas pelo fotógrafo francês Marcel Gautherot no início da década de 1960. Num primeiro momento, analisa o sentido épico dessas imagens, cotejando-as com narrativas históricas e de caráter mítico sobre a fundação da capital. Relaciona as escolhas formais de Gautherot com propostas estéticas de Le Corbusier nos anos 1920, e com concepções de Lucio Costa e Oscar Niemeyer sobre monumentalidade, arquitetura e arte. Analisa a presença das fotografias em questão em revistas e exposições nacionais e internacionais sobre a arquitetura moderna realizada no Brasil. Discorre a respeito do emprego de uma luz contínua e modelada em concomitância com sombras marcantes, longas e densas como uma das principais estratégias de composição de Gautherot na representação do urbanismo e da arquitetura de Brasília como obras de arte. A tese defende que, além da relação iconográfica direta entre fotografia e assunto, as imagens de Gautherot condensam uma rede complexa de propostas estéticas, revelando não apenas as referências de sua formação francesa, mas também a noção de arquitetura como obra de arte e o partido monumental defendidos por Lucio Costa e Oscar Niemeyer em suas obras para a capital. / The thesis analyses a set of Brasilias civic center pictures made by the French photographer Marcel Gautherot in the early of 1960s. At first, it analyses the epic meaning of the images comparing them with historical narratives and myths on the capitals construction. The text connect the formal choices of Gautherot with aesthetical proposals made by Le Corbusier in the 1920s, and with Lucio Costa and Oscar Niemeyers ideas on monumentality, art and architecture. It analyses pictures published in magazines and shows, national and international, about Brazilian modern architecture. The text discuss the use of a continuous and uniform light which appears at the same time that deep and long shadows as one of the most important strategies of composition used by Gautherot in order to represent the urbanism and architecture of Brasilia as works of art. The thesis argues that besides the iconographic relation between photography and its subject, the images made by Gautherot concentrate a complex set of aesthetical proposals that reveal the references of his French education, as well as the notion of architecture as a work of art and the monumental concept defended by Lucio Costa and Oscar Niemeyer for Brasilia.

La volonté d’inscrire l’apologie monumentale que représente le Centre civique de Bucarest dans une histoire urbaine et sociale nous a poussé à analyser les raisons qui ont guidé sa mise en œuvre et, plus largement, à reconstruire le fil narratif de l’histoire bucarestoise à travers l’héritage bâti prestigieux de la ville. C’est ainsi que nous nous sommes intéressés aux rapports entre édification des bâtiments et espaces remarquables et (re)construction d’une identité nationale roumaine, depuis de la déclaration d’indépendance jusqu’à l’intégration européenne perçue comme reconnaissance suprême de l’État roumain. Ce travail analyse donc les techniques d’instrumentalisation de la production architecturale et urbaine dans la définition et la promotion de l’identité nationale. Il complète également le peu d’études scientifiques traitant du Centre civique, à la fois emblème et stigmate en raison des efforts exceptionnels octroyés pour sa construction. Enfin, il aborde la question de la réception d’un ensemble « idéologiquement chargé » et, plus largement, les divers emplois faits des héritages urbains par les régimes politiques qui se sont succédés à la tête de la Roumanie. / This paper aims to place the monumental apology represented by the Civic Center of Bucharest in its urban and socio-political context. Therefore we have analysed the reasons and decisions that led to the way it was conceived and set up, and in addition we have tried to rebuild the narrative of the history of Bucharest through the city’s prominent built heritage. For this reason we have looked into the relations between the fact of erecting buildings and remarkable spaces and the (re)construction of a Romanian national identity, beginning with the Declaration of independence and ending with the European integration, the latter standing for the supreme legitimacy granted to the Romanian State. Therefore this research engages into the analysis of the mechanisms involved in using architectural and urban productions as instruments for defining and promoting national identity. In addition it fills a gap of almost non-existent scientific work dealing with the Civic Center, which is, due to the exceptional efforts engaged in its construction, in the same time Bucharest’s emblem and scar. Finally, it deals with the question of the reception of “ideologically charged” buildings, and more generally, with the fate of urban heritage inherited from totalitarian regimes.

Between 1961 and 1963 a large terraced Etruscan building on the southside of the Acropolis at the archaeological site of San Giovenale in Italy was excavated. The building, named House K, remained largely unpublished and unstudied throughout the years, leaving our picture of the ancient settlement at San Giovenale incomplete. This thesis aims to get a better understanding of the Etruscan architecture, settlement, culture, and society at San Giovenale, by doing an architectural analysis of the building of House K, using unpublished field journals, drawings, and photographs. By comparing the architecture of House K and any structural elements immediately connected with the building, to other structures at San Giovenale, as well as other Etruscan sites, this thesis set out to learn: what kind of structure House K is; what function it had; what its relative dating is; what role it played in the settlement at San Giovenale; and what it can tell us regarding the society and culture at San Giovenale. Using environment-behaviour relations and building archaeology, the study first examined the structural elements of House K, before comparing House K to other structures at San Giovenale built 700–400 BCE. Thereafter, the study looked at parallels outside of San Giovenale, looking at the sites of Acquarossa, Luni sul Mignone, Poggio Civitate, Cerveteri, Pyrgi, Montetosto, Vulci, and Narce. Finally, a discussion was had regarding the character and function of House K, whether it was public, private, sacred, or profane. In the course of the study, an architectural chronology of San Giovenale was established, which dated the construction date of House K to between c. 565 BCE and the late 6th century BCE. The interpretation of the function of House K that seems most probable is that it was a monumental building complex of administrative, political and/or religious significance, which probably also acted as a residence for the ruling elite at San Giovenale – in other words: a palazzo. House K being a palazzo would mean that there was a centralised authority at San Giovenale, suggesting that there was some sort of ruler or leader at the top of the social hierarchy, splitting the social division at San Giovenale further than it was previously believed to have been.

This thesis confronts the possibility of an architecture which limits and reveals, freedom for a way to live, for the activities of man which are vital to a good life. An architecture which is investigated and projected through making. Architecture Separates and makes Distinct, while finding meaningful connection. The work of drawing here attempts to project an architecture which is vital to man, by providing a connection to the activities of Man, in which the spirit of their beginning is recaptured and renewed through a reimagining of the Institutions of Man. Where a sense of Wonder is imperative, and the sense of the eternal in architecture is cultivated. One where a renewal is possible and sense of the cosmos is more evident. On the Threshold of 'Where the desire to express meets the possible' (Kahn) using architectural form. Awareness What is the form? Beginning with the room / Master of Architecture

Made available in DSpace on 2016-04-27T19:31:17Z (GMT). No. of bitstreams: 1 Laura de Souza Cury.pdf: 15887649 bytes, checksum: 775e369800465557349d5724d5ed4ef7 (MD5) Previous issue date: 2016-03-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation deals with images of the Ibirapuera Park in the city of São Paulo, favoring a historical perspective and, above all, photographic sources. The main focus lies on photos, because it is believed that the mechanical reproduction of this medium helped to disseminate a certain imaginary about the architectural work, the city and even the country to the population. The images collected come from important archives and publications both national and international in the time period that spans from the 1950s to the 1970s. The research aimed to understand the project of paulistaneidade and of national identity that prompted the construction of this monument-park in peripheral socioeconomic circumstances, despite the development the city of São Paulo at the time. The research tried to look into how the architectural, urban and photographic symbols of the Ibirapuera Park helped to produce aesthetic and political sense related to notions of modernity and progress, aiming to transform the urban landscape of São Paulo and of Brazil / Esta dissertação trata das imagens do Parque Ibirapuera na cidade de São Paulo, privilegiando uma perspectiva histórica e, sobretudo, fontes fotográficas. O foco principal recai sobre fotografias, pois acredita-se que a reprodutibilidade técnica desse meio auxiliou a divulgação de determinado imaginário a respeito da obra, da cidade e até mesmo do país. As imagens pesquisadas são provenientes de importantes arquivos e publicações nacionais e internacionais entre as décadas de 1950 e 1970. A pesquisa buscou compreender o projeto de paulistaneidade e de nação que incitou a construção desse parque-monumento em circunstâncias socioeconômicas nacionais ainda periféricas, apesar do desenvolvimento da cidade de São Paulo na época. Pretendeu-se debruçar sobre como os símbolos arquitetônicos, urbanísticos e principalmente fotográficos do Parque Ibirapuera ajudaram a produzir sentido estético e político relacionados a noções de modernidade e de progresso, almejando a transformar a paisagem urbana de São Paulo e do Brasil