Made available in DSpace on 2016-04-27T19:30:09Z (GMT). No. of bitstreams: 1 Michelle Almeida Tito.pdf: 857999 bytes, checksum: 24be45be72532c4b3b777205eb6cb319 (MD5) Previous issue date: 2010-12-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / On the dissertation O Centro de Cultural Social de São Paulo: entre práticas sociais e construções de memórias (1985-2007) (Cultural Social Center of São Paulo capital: social practices and shaping memories), I explore the story of this center created by anarchists in 1933. In order to gather information, I researched stories of members and ex-members of the center that were told in interviews and some other documents such as reports, letters, invitation, posters and made while the center existed, this information allowed me to link to the experiences from other anarchists groups that belonged to CCS. I envisage to expose their experiences, also the disputes of the members linked to syndicalism-anarchism and groups linked to new anarchists , such link led transformations into the center. I focus on how such memories were shaped and on the meaning of such memories - they were forged through the fights commanded by its members that belong to the Cultural Center in order to understand the meanings of the memories and its value or not value of its past, and most people link these memories to present dilemmas. I also investigate the problems aroused by keeping such memories, especially the fact that many people want to have the documents of the Anarchist Movement and of the Cultural Center. Lastly, I explore the relation between the members of the Center and the urban area of São Paulo city, how they blend into the urban culture of this city so important and for its globalization processes. During the research, I realized that the social practices of the members recreated some places in the city, such as Brás area, downtown, as they were taken up by the members of the Anarchist movement. I consider the fact its headquarters have been spread throughout the urban area, after it was open for the second time in 1985 until the members got their own headquarter in 2006 and also I point out the consequences of such acts / Na dissertação O Centro de Cultura Social de São Paulo: entre práticas sociais e construções de memórias (1985-2007) , abordo a trajetória dessa associação criada por anarquistas em 1933. Para a realização deste trabalho, recorri às narrativas de militantes e ex-militantes do Centro por meio da produção de entrevistas e consulta de fontes de pesquisa como boletins informativos, cartas, convites, cartazes e programações produzidos no decorrer de suas atividades, os quais me permitiram dialogar com as experiências vividas pelos grupos de diferentes tendências anarquistas que constituíram o CCS. Procuro evidenciar os convívios e confrontos vivenciados por esses grupos, assim como as disputas que envolveram os militantes mais atrelados ao anarco-sindicalismo e os grupos ligados aos novos anarquismos , fatos esses que resultaram em transformações na associação. Problematizo as construções e os significados das memórias forjadas no decorrer das lutas empreendidas por seus militantes que permeiam o Centro de Cultura para compreender os diferentes sentidos atribuídos às rememorações e à valorização ou desvalorização de dimensões do passado, que muito se relacionam aos dilemas vividos no presente. Investigo, ainda, as dificuldades que envolvem a preservação das memórias da associação, especialmente as disputas em torno do acervo documental do Movimento Anarquista e do CCS. Por fim, exploro as relações entre os militantes do Centro e o espaço urbano da cidade de São Paulo e também as articulações deles com a cultura urbana paulistana, marcada por processos de globalização. No decorrer desta pesquisa, constatei que as práticas sociais empreendidas pelos militantes (re)significaram certos lugares da cidade, como o bairro do Brás e a região central, que foram tomados como espaços para a sociabilidade e para a militância do Movimento Anarquista. Reflito sobre os deslocamentos da sede da associação por bairros paulistanos, desde sua reabertura em 1985 até a aquisição de uma sede própria em 2006, e sobre os desdobramentos dessas movimentações

Η παρούσα διπλωματική εργασία εκπονήθηκε στο τμήμα Ηλεκτρολόγων Μηχανικών και Τεχνολογίας Υπολογιστών του Πανεπιστημίου Πατρών και το θέμα της αφορά τη σχεδίαση της ηλεκτρολογικής εγκατάστασης στα αρχιτεχνονικά σχέδια της κύριας αίθουσας του Συνεδριακού και Πολιτιστικού Κέντρου του Πανεπιστημίου Πατρών (Σ.Π.Κ) και στην ακουστική μελέτη του αμφιθεάτρου. Για τη σχεδίαση της ηλεκτρολογικής εσωτερικής εγκατάστασης χρησιμοποιήθηκαν τα σύμβολα και οι κανονισμοί από τον ΕΛΟΤ HD384. Για την κατασκευή των σχεδίων χρησιμοποιήθηκε το λογισμικό AutoCAD 2008 και για την ακουστική μελέτη το λογισμικό CATT-Acoustic v7.2I,το οποίο είναι ένας προσομοιωτής μοντέλου ακουστικής χώρου. Η διπλωματική εργασία χωρίζεται σε 6 κεφάλαια όπου στο 1ο κεφάλαιο γίνεται μια γενική περιγραφή για το Σ.Π.Κ. Στο 2ο κεφάλαιο γίνεται μια γενική περιγραφή για την Εσωτερική Ηλεκτρική Εγκατάσταση (Ε.Η.Ε) , γενικές οδηγίες-κανονισμοί και αναφορά στα διάφορα καλώδια και αγωγούς που χρησιμοποιούνται. Στο 3ο κεφάλαιο, εξετάζονται στοιχεία φωτοτεχνίας και εξηγείται αναλυτικά η σημαντικότητα της χρήσης του σωστού είδους τεχνητού φωτισμού στο Σ.Π.Κ . Στη συνέχεια, στο 4ο κεφάλαιο γίνεται η παρουσίαση του κάθε ηλεκτρικού κυκλώματος που σχεδιάστηκε και τι αγωγοί, ασφάλειες και συσκευές προτείνονται για την υλοποίησή του. Στο 5ο κεφάλαιο, παρουσιάζεται η θεωρία ακουστικής και στο 6ο κεφάλαιο παρουσιάζεται η μεθοδολογία που ακολουθήθηκε για τη διεξαγωγή της ακουστικής μελέτης και παρουσιάζονται τα αποτελέσματα και τα συμπεράσματα της ακουστικής προσομοίωσης. / The present dissertation has been done in the department of Electrical and Computer Engineering in the University of Patras and the subject concerned the design of electrical installation for the architectural plans of Conference and Cultural Center of the University of Patras (C.C.C.), as well as the acoustic study of an amphitheatre inside C.C.C. For the design of this electrical installation symbols and regulations from ELOT HD 384 were used. The construction of the electrical plans was done on the software AUTOCAD 2008 and the acoustic study was done using the CATT-acoustic v.32, which is software for simulating rooms acoustic. The dissertation is divided in to 6 chapters. In the first chapter, a general description of C.C.C. is given. In the 2nd chapter a general description of the electrical installation is given, general instructions and regulations and reference to cables and wires that are used. In the 3rd chapter, elements of light are examined and the importance of using the correct kind of technical light in C.C.C. Next, in the 4th chapter, every electrical circuit that is designed is presented with the appropriate cables, fuses and appliances for its implementation. In the 5th chapter, the acoustic theory is explained and in the 6th chapter the methodology for the acoustic simulation and the results are presented.

Trata do processo de criação e desenvolvimento do Centro Cultural da Juventude Ruth Cardoso (CCJ) e do impacto causado por suas ações junto à comunidade, particularmente junto ao seu público-alvo, utilizando para esta reflexão os conceitos de desenvolvimento cultural e de direitos culturais. O CCJ foi criado em 2006 com objetivo de atender as demandas dos jovens moradores das regiões de Brasilândia, Cachoeirinha, Freguesia do Ó e de toda a cidade de São Paulo. Partiu da criação de um equipamento cultural que tem como público-alvo os jovens entre 18 a 29 anos, que em geral não são o foco principal dos outros equipamentos mantidos pela prefeitura da cidade de São Paulo. Foi analisada a relação entre a cultura e a cidade, a partir da presença e distribuição dos equipamentos culturais no âmbito da Secretaria de Cultura da cidade de São Paulo, descritos aqui como pano de fundo. Apresenta o histórico do CCJ, sua criação, suas redes, objetivos, propostas e funcionamento, tendo como fonte de informação depoimentos colhidos junto aos gestores do CCJ, documentos e observação. Para analisar o público-alvo do CCJ, aborda-se o conceito de juventude, seus valores e suas expectativas. Traz uma pesquisa de usuários do CCJ que ajuda a traçar seu perfil, analisar o uso que fazem do equipamento e avaliar sua satisfação com as atividades e os acessos oferecidos. Os resultados obtidos demonstraram mudanças no perfil cultural destes jovens, a partir da freqüência ao CCJ, podendo-se admitir que espaços culturais próximos à comunidade contribuem de forma eficaz para o desenvolvimento cultural de seu público e para a democratização do acesso aos bens culturais. / This dissertation aims to analyze the process of creation and development of the Cultural Center for Youth Ruth Cardoso (Centro Cultural para a Juventude Ruth Cardoso, CCJ) and the impact caused by the actions of the CCJ in the community, particularly among its target audience, using in this reflection the concepts of \"cultural development\" and \"cultural rights\". The CCJ was established in 2006 in order to meet the demands of the young residents of the regions of Brasilândia, Cachoeirinha, Freguesia do Ó and of the city of São Paulo as a whole. The CCJ involved the creation of differentiated cultural facilities, focusing on the population aged 18 to 29 years, the general public that is not the main focus of the other facilities maintained by the Municipal Government of São Paulo. We analyze initially the relationship between culture and cities, focusing specially on the presence and distribution of cultural facilities within the Department of Culture (Secretaria de Cultura) of São Paulo, in order to achieve an overview of the characteristics of each of them. Subsequently we present the history of the CCJ, its creation, its networks, objectives and operation. These information were obtained from testimonies collected from the managers of the CCJ, documents and observation. Afterwards we make a discussion on the concept of youth and its expectations, and finally we deal with the analysis of the interviews applied to users of the CCJ, checking its characteristics, the uses of the facilities, and the evaluation of satisfaction, which indicates changes in the cultural profile of these young people in relation to their attendance of the CCJ. The results showed that differentiated cultural spaces and decentralization contribute effectively to the cultural development of its public and to the democratization of the access to cultural goods.

El proyecto se enfoca en analizar los aspectos culturales y sociológicos de la ciudad de Trujillo, y fusionarlos con la arquitectura de Centro Cultural y Museo para elaborar un proyecto arquitectónico que respete las características principales del contexto y se relacione entre ellas. En la investigación, se encontraron tradiciones culturales de la época incaica en Trujillo que aún siguen practicándose. Sin embargo, la práctica de estas va quedando en el olvido o reducido al punto de solo practicarlo en especificas familias que conservan estas tradiciones. Por lo que realizar un proyecto que albergue, difunda estos aspectos culturales de Trujillo, que armonice con su contexto natural y su cultural, fue el principal objetivo de este trabajo. Es por ello que, en fusión con el regionalismo crítico, a modo de énfasis, se pudo generar una sinergia entre la arquitectura y cada una de las características propias del lugar. Ya sea por su ubicación, emplazamiento, colores, materiales y técnicas constructivas. Permitiendo que el proyecto funcione como un foco cultural que alberga las principales actividades culturales de Trujillo, así como promover la difusión de las culturas Moche y Chimú, y principalmente armonizando con su contexto inmediato. Mediante la exhibición de piezas arqueológicas de ambas culturas, la promoción y difusión de las actividades culturales de la zona se logra con éxito el propósito del proyecto. El cual tiene como finalidad mantener viva las principales culturas de Trujillo, Cultura Moche y Chimú, y que su legado se mantenga vigente con el transcurrir del tiempo. / The project focuses on analyzing the cultural and sociological aspects of the city of Trujillo, and merging them with the architecture of the Cultural Center and Museum to develop an architectural project that respects the main characteristics of the context and is related to each other. In the investigation, cultural traditions from the Inca period were found in Trujillo that are still being practiced. However, the practice of these is being forgotten or reduced to the point of only practicing it in specific families that preserve these traditions. Therefore, carrying out a project that shelters, disseminates these cultural aspects of Trujillo, that harmonizes with its natural and cultural context, was the main objective of this work. That is why, in fusion with critical regionalism, by way of emphasis, a synergy could be generated between the architecture and each of the characteristics of the place. Either because of its location, location, colors, materials and construction techniques. Allowing the project to function as a cultural focus that houses the main cultural activities of Trujillo, as well as promoting the diffusion of the Moche and Chimú cultures, and mainly harmonizing with its immediate context. Through the exhibition of archaeological pieces from both cultures, the promotion and dissemination of the cultural activities of the area, the purpose of the project is successfully achieved. The purpose of which is to keep alive the main cultures of Trujillo, the Moche and Chimú culture, and that their legacy remains in force over time. / Tesis

El proyecto está basado en la implementación de un centro cultural en el distrito de Carabayllo originado a partir del déficit cultural arraigado en la zona; de igual manera, con este proyecto se busca desarrollar una identidad colectiva que enorgullezca a los habitantes y convierta al distrito en la capital social de Lima norte. Estos objetivos estarán desarrollados bajo la arquitectura social y sus distintas estrategias de diseño que permitan la relación constante entre la trama urbana existente y la estructura social. Por este motivo, se propone un edificio mimetizado a su perfil urbano que fomente la generación y revitalización de espacios públicos mediante un programa de usos comunes educativos, laborales e inclusivos basados en las necesidades de sus habitantes. / The project is based on the implementation of a Cultural center in the district of Carabayllo, originated from the cultural deficit rooted in the area; likewise, this project seeks to develop a collective identity that will make the inhabitants proud and turn the district into the social capital of northern Lima. These objectives will be developed under the social architecture and its different design strategies that will allow the constant relationship between the existing urban fabric and the social structure. For this reason, it is proposed a building blended with its urban profile to promote the generation and revitalization of public spaces through a program of common educational, labor and inclusive uses based on the needs of its inhabitants. / Trabajo de investigación

Dentro del Centro Histórico de Lima aún resisten edificaciones que fueron referentes arquitectónicos del Siglo XIX y XX y que siguen casi en pie; sin embargo, al preguntarnos qué porvenir tienen, las respuestas e intuiciones son en su mayoría desesperanzadoras. En tiempos donde se discute sobre la obsolescencia programada de los productos, los objetos, los edificios, ¿dónde queda el oficio del arquitecto con vocación humanista, su ego intrínseco de perennización a través de la calidad? ¿A qué le llamamos calidad arquitectónica si seguimos usando a la ciudad como una pizarra de prueba y error, borrón, cuenta nueva y parches, una ciudad cada vez más saturada y necesitada de espacios públicos e infraestructura? ¿Acaso es el descuido del hombre, su ingratitud hacia la historia y su falta de valoración a la calidad y orden (informalidad) lo que está mandando a cientos joyas arquitectónicas de Lima al olvido? Este proyecto tiene la osadía de desafiar al tiempo con un ideal futurista para un usuario real y humano del presente, que muestra correspondencia hacia nuestra historia mediante dos conceptos primordiales: poner en valor infraestructuras arquitectónicos olvidadas del Siglo XX a través de su adecuación para nuevos usos contemporáneos y versátiles, y mejorar los espacios públicos del Centro de Lima a través de una nueva alternativa solventada en un programa urbano y arquitectónico. / Inside the Historical Center of Lima there are -still- buildings that were architectural references of the XIX and XX centuries and that are yet standing; however, when asked what future they have, the answers and intuitions are mostly hopeless. In times where there is discussion about the programmed obsolescence of products, objects, buildings, where is the job of the architect with a humanist vocation, his intrinsic ego of perennization through quality? What do we call architectural quality if we continue to use the city as a try and failure blackboard, a city increasingly saturated and needed of public spaces and infrastructure? Is it the carelessness of man, his ingratitude towards history and his lack of appreciation of quality and order (informality) that is sending hundreds of architectural gems from Lima to oblivion? This project has the audacity to challenge time with a futuristic ideal for a real and human user of the present, which shows correspondence to our history through two fundamental concepts: to value forgotten architectural infrastructures of the 20th Century through its adaptation for new contemporary and versatile purposes, and improve the public spaces of the Center of Lima through a new alternative solved in an urban and architectural program. / Tesis

El proyecto consiste en la inserción de una arquitectura contemporánea en un contexto monumental, rodeado de edificaciones con valor histórico en la ciudad de Lima, exactamente, en el distrito del Rímac. Está directamente relacionado con la Plaza de Acho y con el Mirador Ingunza, declarados monumentos. La idea principal es rescatar este espacio urbano por medio de una tipología, un centro cultural, que, además, ayude a reducir la delincuencia y sea un espacio aprendizaje e intercambio cultural. Este nuevo edifico de equipamiento debe mimetizarse en el contexto, de manera que brinde mayor valor e importancia a los edificios monumentales y capte usuarios potenciales. Para ello, esta edificación solo se asoma 2.5m de altura del nivel 0.00, además, la volumetría parte de los ejes principales de la Plaza de Toros de Acho. Asimismo, se plantea que la avenida Marañon sea de coexistencia, de manera que permita una conexión e integración entre el edifico nuevo, la Plaza de Toros de Acho y el parque. / The project consists on the insertion of a contemporary architecture in monumental context in Lima city. Rímac district, which is where the project is located, is rounded of buildings with historical value like Plaza de Acho and Mirador Ingunza declared monuments. The main idea is to rescue this urban space through an architectural typology, a cultural center, which also will help reducing crimes and also pretending to be a space for learning and cultural exchange of the people. This new equipment building must be mimicked in context, so as to provide greater value and importance to monumental buildings and potential users. For this, the building only shows 3.5m of height of the 0.00 level, the volumetric starts from the main axes of the Plaza de Acho. Likewise, it is proposed that Marañón Avenue be a coexistence, in a way that allows a connection and integration between the new building, Plaza de Acho and the park. Keywords: Architecture ; Cultural Centre; Mimicry; Connection; Integration; Plaza de Toros de Acho; Ingunza lookout; Monuments ; Old Town of Lima; Rimac; Urban space; Lima Centre. / Tesis

El siguiente trabajo presenta el proyecto de tesis para optar el título de Arquitecto. Demuestra una investigación en primer lugar de acuerdo a la tipología arquitectónica, el cual es un centro cultural de nivel distrital el cual evoca nuestra cultura peruana, como segundo punto justifico el lugar de mi propuesta arquitectónica, haciendo referencia a la importancia de la ciudad de Cusco. Como tercer punto, el énfasis de mi proyecto seleccionado en relación a la ciudad de Cusco , la cual es rica en cultura , historia y arquitectura, este es ‘’La arquitectura de integración en un contexto histórico patrimonial’’. De acuerdo a la investigación del análisis de la tipología y énfasis seleccionado, se estudiaron quince proyectos referenciales de la tipología arquitectónica y cinco proyectos en relación al énfasis arquitectónico. Estos proyectos demuestran estrategias que servirán como referentes para para realizar el proyecto de Centro Cultural Distrital Cusco. / The following work presents the thesis project to obtain the title of Architect. It shows an investigation in the first place according to the architectural typology, which is a district-level cultural center which evokes our Peruvian culture, as a second point I justify the place of my architectural proposal, referring to the importance of the city of Cusco. As a third point, the emphasis of my selected project in relation to the city of Cusco, which is rich in culture, history and architecture, this is '' The architecture of integration in a heritage historical context ''. According to the investigation of the analysis of the selected typology and emphasis, fifteen referential projects of the architectural typology and five projects in relation to the architectural emphasis were studied. These projects demonstrate strategies that will serve as references to carry out the Cusco District Cultural Center project. / Tesis

The master degree project presents design of conversion and extension of an old former prison situated between the streets Cejl, Soundni and Bratislavska for cultural, commercial and manufacturing purposes and forming multifunctional cultural center. The proposal consists of the conversion of two floors of existing building on the street Soudni, demolition of additional building on the street Bratislavska, while the additional building on street Cejl is belonging to other owner and will remain in existing status. Before the new building it is created a small square, that connects new and old building and the surroundings. Main goal is to create center for “creative” specialization, in which will be placed as working (studio, offices, conference hall) and performing spaces, but there also will be residential part (hostel and renting flats). Main purpose – create interesting space for collaboration of creative professions and to create the new cultural center.

El patrimonio cultural del Perú es rico y diverso. Está constituido por las fiestas, danzas, celebraciones rituales, lenguas y conocimientos tradicionales. Prueba de ello es la riqueza cultural existente en el departamento de Junín, que se encuentra en el tercer lugar de los departamentos con mayor número de Expresiones Inmateriales de Cultura del Perú. Este departamento es una de las regiones más fértiles en este tipo de manifestaciones. Según la declaratoria de Expresiones del Patrimonio Cultural Inmaterial como Patrimonio Cultural de la Nación, 17 manifestaciones culturales autóctonas de esta región han sido declaradas Patrimonio de la Nación. Una de ellas, la Huaconada de Mito, se encuentra dentro de la categoría de Patrimonio de la Humanidad reconocida por la UNESCO. Habiendo asimilado la riqueza y diversidad cultural presente en Junín, se hace necesario analizar las condiciones culturales en esta región, en términos de infraestructura para su preservación, valoración y difusión. Según cifras del Ministerio de Cultura, Junín cuenta con 2 centro culturales. Estos presentan serias deficiencias como no darse abasto para la cantidad de visitantes que registran y no promover actividades culturales correspondientes a un Centro Cultural. Por las razones presentadas, se hace viable el desarrollo de un Centro Cultural en Junín, que se plantea como un espacio de difusión, interacción y comunicación de la riqueza cultural de la zona para la comunidad, así como para los visitantes locales, regionales, nacionales e internacionales. Su objetivo es la puesta en valor de una importante herencia cultural, reconocida nacional como internacionalmente. / Peru's cultural heritage is rich and diverse. It is made up of festivals, dances, ritual celebrations, languages, ​​and traditional knowledge. Proof of this is the existing cultural wealth in the region of Junín, which is in the third place of the departments with the highest number of Intangible Expressions of Culture of Peru. This region is one of the most fertile regions in this type of manifestations. According to the declaration of Expressions of the Intangible Cultural Heritage as Cultural Heritage of the Nation, 17 indigenous cultural manifestations of this region have been declared Heritage of the Nation. One of them, the Huaconada de Mito, is within the category of World Heritage Site recognized by UNESCO. Having assimilated the richness and cultural diversity present in Junín, it is necessary to analyze the cultural conditions in this region, in terms of infrastructure for its preservation, valuation and dissemination. According to figures from the Ministry of Culture, Junín has 2 cultural centers. These present serious deficiencies such as not being able to cope with the number of visitors they register and not promoting cultural activities corresponding to a Cultural Center. For the reasons presented, the development of a Cultural Center in Junín is made viable, which is proposed as a space for dissemination, interaction and communication of the cultural wealth of the area for the community, as well as for local, regional, national visitors. and international. Its objective is the enhancement of an important cultural heritage, recognized nationally and internationally. / Tesis