By investigating the case of the Czech Underground from the 1960s to the 2000s, this thesis seeks to explore ways in which an enacted cultural space enables acts of ‘togetherness’ and as such ‘protects’ or ‘immunizes’ individuals and groups from perceived forms of oppression. The data presented in this thesis is taken from an ethnographic and archival study of the Underground through interviews, participant observation and archival research in the Czech Republic, Hungary and Poland. I describe how the term ‘Underground’ does not refer to a physical place but rather to a conceptual and symbolic space or set of occasions where dispositions are learned, maintained and adapted and where the world can be viewed, imagined and acted upon. I describe how that space was created through the location, arrangement and informal learning about how to appropriate a cluster of cultural practices and materials: physical appearances, actions, felt dispositions, mental states and objects. For those who became part of this Underground, to varying degrees, this cluster of cultural practices facilitated embodied, emotional and cognitive postures toward social and cultural life in Czechoslovakia and the Czech Republic. These postures were in turn a platform for collective experience. I examine actors as they furnished this Underground cultural space through locating, opening up and crafting available aesthetic resources in local environments. My focus is on ‘non-official’ musicking practices in Czechoslovakia starting from the 1960s such as listening to the radio, seeking out records tapes, listening to LPs, growing long hair, illegal concerts, and home-studio recordings. Within these practices, I look to how aesthetic material—raw, un-tuned, heavy—took hold and provided a resource for the bases of community activity. Through these grounded examples, I show how a group of people assembled a parallel aesthetic ecology that allowed for acts of rejecting and communing, the doing of resistance. In this way, I attempt to show how resistance became a form of immunity or ‘cocooning’ against unwanted cultural material and thus a technology of health at the community level.

Informed by research that connects transitional issues with assimilation, this practicum project focuses on how culturally-relevant education and service-based interior environments support the transition of urban Indigenous peoples. Eagle Urban Transition Centre (EUTC) in Winnipeg is studied as the client, providing specific examples of Indigenous service and educational frameworks employed to mitigate transitional issues. Spatial criteria for the adaptive reuse of 601 Aikins Street on Treaty One Territory in Winnipeg, Manitoba, were developed through a photo-elicitation interview process, and a theoretical framework that connected urban Indigenous identity, Indigenous education, transition and resistance with interior environments. Representing and recognizing the diverse Indigenous cultures of the users of EUTC in the design required a formal analysis of examples of Indigenous cultural production, such as the eight-pointed star blanket and Métis beadwork, as well as precedents of Indigenous spaces. The interior design for EUTC supports their organization, facilitating transition and creating opportunities for resistance through spaces that respect and emphasize cultural (re)connection. / October 2015

El trabajo de investigación propone como espacio cultural un Centro Cultural Étnico Amazónico en la Ciudad de Puerto Maldonado con énfasis en el regionalismo local. En primer lugar, se obtuvo un análisis de la situación actual el cual refleja la necesidad de un equipamiento cultural que promueva la cultura local mediante las etnias amazónicas originarias. Por tanto, se indago sobre el lugar en cuanto a su gran potencial cultural, natural, turístico que posee como región y las problemáticas sociales, culturales y educativas. Actualmente, es necesario una propuesta de espacio cultural que complemente y fomente al sector educación y cultura, revalorando las costumbres, tradiciones locales. También, se obtuvieron modelos no arquitectónicos mediante espacios culturales referenciales a nivel global, nacional y regional que nos aproxima a las actividades a desarrollar en el espacio cultural. Asimismo, se analizaron libros y proyectos referenciales de la tipología y del énfasis de regionalismo con la finalidad de obtener pautas de diseño en cuanto a los aspectos de ubicación, la forma, la función y los aspectos tecnológicos más adecuados y pertinentes para la intervención de los espacios culturales. / The research proposes as a cultural space an Amazonian Ethnic Cultural Center in the City of Puerto Maldonado with emphasis on local regionalism. First, an analysis of the current situation was obtained which reflects the need for cultural equipment that promotes local culture through the original Amazonian ethnic groups. Therefore, we inquired about the place in terms of its great cultural, natural, tourist potential that it has as a region and the social, cultural and educational problems. Currently, a proposal for a cultural space that complements and encourages the education and culture sector is necessary, revaluing customs, local traditions. Also, non-architectural models were obtained through referential cultural spaces at a global, national and regional level that brings us closer to the activities to be developed in the cultural space. Likewise, reference books and projects of the typology and emphasis of regionalism were analyzed in order to obtain design guidelines regarding the aspects of location, form, function and the most appropriate and pertinent technological aspects for the intervention of the cultural spaces / Trabajo de investigación

Submitted by Coordenação Hotelaria (hotelaria@vm.uff.br) on 2016-05-04T18:18:12Z No. of bitstreams: 1 TCC Mayara Silva.pdf: 301300 bytes, checksum: e5aea6d0f09d3a446484542cba752fad (MD5) / Made available in DSpace on 2016-05-16T16:08:45Z (GMT). No. of bitstreams: 1 TCC Mayara Silva.pdf: 301300 bytes, checksum: e5aea6d0f09d3a446484542cba752fad (MD5) / Hospitalidade e espaço cultural estão intimamente ligados, uma vez que a hospitalidade se dá através do “bem-receber” e que o espaço cultural é um local de acolhimento. Com o aumento do número de espaços culturais no país, se faz necessária uma pesquisa mais aprofundada com relação aos seus processos de acolhimento, nos mais diferentes tempos da hospitalidade, do recepcionar ao entreter. Cabe, portanto, definir o que faz de um espaço um lugar hospitaleiro e, coube a presente pesquisa buscar essa resposta tendo por cenário o Centro Cultural Banco do Brasil – Rio de Janeiro. Foram utilizados como instrumentos de pesquisa roteiros de observação com base nos indicadores estabelecidos por Grinover (2006) a respeito de um local hospitaleiro, sendo realizadas visitas de observação em contraposição aos conceitos que o próprio CCBB alega seguir, do ponto de vista da hospitalidade. Pode-se observar que o CCBB apresenta estrutura condizente com um local hospitaleiro, podendo, no entanto, ser melhorado ainda quanto a sua acessibilidade e legibilidade. / Hospitality and cultural spaces are closely linked, since hospitality is through the "well-received" and that space is a local host. With the increasing number of cultural venues in the country, it is necessary further research with respect to the processes of care in the most different times of hospitality, the welcome to entertain. it must therefore define what makes a space a hospitable place, and fell to pursue this research with this response by the Centro Cultural Banco do Brasil - Rio de Janeiro. It were used as instruments of observation screenplays based on the indicators established by Grinover (2006) about a place of hospitality research, observation visits being made as opposed to concepts that CCBBs own claims to follow, in terms of hospitality. It can be seen that the structure CCBB features consistent with a hospitable place it can, however, be further improved as its accessibility and readability.

Актуальность диссертационного исследования обусловлена необходимостью выявления мотивационных факторов социальной активности молодого поколения в условиях динамичной цифровизации социокультурного пространства и определения условий ее реализации в рамках различных направлений государственной молодежной политики. Проблема качественного воспроизводства студенческой общности как субъекта реализации миссии университета в сохранении и развитии культуры представляется весьма важной. Объектом является общественная активность студенческой молодежи. Предметом исследования являются механизмы управления общественной активностью студенческой молодежи в цифровом социокультурном пространстве. Целью работы является разработка нового инструмента управления общественной активностью студенческой молодежи в цифровом социокультурном пространстве. Задачи - Проанализировать теоретические подходы к изучению социокультурного пространства молодежи; Определить специфику общественной активности студенческой молодежи; Рассмотреть социальную активность, как объект теоретического изучения; Изучить методологию исследования общественных объединений студенчества; Исследовать эмпирические показатели общественной активности студенчества Среднего Урала в цифровом социокультурном пространстве; Разработать проект агрегированного сервиса молодежной политики. В первой главе проанализированы теоретические подходы к изучению социокультурного пространства студенческой молодежи, социальной активности студенческой молодежи, общественных объединений студенчества. Во второй главе представлены результаты эмпирического исследования цифрового социокультурного пространства студенчества Среднего Урала и его общественной активности, а также определен управленческий потенциал цифровых технологий в реализации молодежной политики. Результатом работы является создание социального проекта агрегированного сервиса молодежной политики. Магистерская диссертация состоит из двух глав, введения, заключения, библиографического списка, шести приложений. / The relevance of the dissertation research is due to the need to identify the motivational factors of social activity of the young generation in the context of the dynamic digitalization of the socio-cultural space and to determine the conditions for its implementation within the framework of various areas of state youth policy. The problem of the qualitative reproduction of the student community as the subject of the implementation of the university's mission in the preservation and development of culture seems to be very important. The object is the social activity of student youth. The subject of the research is the mechanisms for managing the social activity of student youth in the digital socio-cultural space. The aim of the work is to develop a new tool for managing the social activity of student youth in the digital socio-cultural space. Tasks - Analyze theoretical approaches to the study of the sociocultural space of youth; Determine the specifics of the public activity of student youth; Consider social activity as an object of theoretical study; To study the research methodology of student public associations; Explore empirical indicators of public activity of students in the Middle Urals in the digital socio-cultural space; To develop a project of an aggregated youth policy service. The first chapter analyzes theoretical approaches to the study of the socio-cultural space of student youth, social activity of student youth, student public associations. The second chapter presents the results of an empirical study of the digital socio-cultural space of students in the Middle Urals and their social activity, and also identifies the managerial potential of digital technologies in the implementation of youth policy. The result of the work is the creation of a social project for an aggregated youth policy service. Master's dissertation consists of two chapters, introduction, conclusion, bibliography, six appendices.

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The dissertation studies the features and modes adopted by the street art in urban cultural space. The text presents an analysis of history and contemporary forms of street art in Russia. Through the works of major artists, themes and festivals, the author elucidates characteristic features of Ekaterinburg street art, explores the work of “Sweater” street art gallery and the experience of the All-Russian Street Art Festival “Stenograffia”. Sociological research conducted by the author helps to understand the attitudes of Ekaterinburg’s younger population towards specific street art objects and street art in general. / Диссертация посвящена изучению особенностей и форм проявления street art в культурном пространстве города на примере г. Екатеринбурга. Анализируется история и современные формы street art в России. Через работы значимых художников, темы и фестивали выявляются особенности стрит-арта в Екатеринбурге, исследуется деятельность галереи уличного искусства «Свитер» и опыт проведения Всероссийского фестиваля уличного искусства «Стенограффия». На основе проведенного социологического опроса выявляется отношение молодежи г. Екатеринбурга к отдельным объектам уличного искусства и стрит-арту в целом.

Le début du XXe siècle est marqué pour les Iraniens par un ensemble de réflexions et par de profonds changements dans leurs besoins et leurs attentes. Les sources de ces changements sont de deux ordres : le pétrole et la Constitution. Le pétrole en tant que richesse sortie de terre a été la cause de nombreux débats et mutations en Iran et au Moyen-Orient. La Constitution est considérée comme l’une des raisons de l’évolution de la pensée iranienne sur les questions de société et de liberté individuelle et collective. Elle a entraîné des réflexions et des transformations sur des sujets tels que la liberté, les valeurs nationales, les valeurs religieuses.Au milieu du XXe siècle, la ville de Téhéran, capitale de l’Iran, a connu des formes nouvelles avec des modifications dans la structure du pouvoir et des changements idéologiques dus à des volontés politiques. Quant aux conditions politiques et sociales, au cours de certaines périodes, le contrôle et l’exercice du pouvoir sur les espaces publics se sont rapidement radicalisés. Ces transformations se reflètent sur les espaces publics (culturels, éducatifs, religieux). Si l’État était favorable à la modernisation, des espaces modernes se formaient. Si l’État prônait l’expansion de la culture islamique, les espaces religieux devenaient prioritaires. Parmi les périodes importantes, citons celle de la Révolution islamique de 1978-1979 qui a cherché à nier les structures déjà formées et qui a souhaité créer une nouvelle forme de société. Les premières années après la révolution, puis les années de guerre entre l’Iran et l’Irak (1980-1988) constituent la période où les révolutionnaires se sont consacrés à réaliser « la Bible » de leur révolution. Cet ensemble de théorisations a influencé directement ou indirectement la structure de la société urbaine. Aujourd’hui, trois décennies après ces profonds bouleversements, après une période de « convalescence », on accorde moins d’importance à la Révolution islamique. Depuis, Nous avons été donc été témoins de grandes évolutions dans la structure du pouvoir ainsi que dans la gestion et le contrôle de l’espace.Afin d’étudier l’ensemble de ces transformations et le rôle de la population dans l’acceptation ou le refus de ces changements, nous avons étudié trois quartiers de Téhéran ayant différentes structures sociales, économiques et politiques. Le comportement, les valeurs et les besoins des habitants de chacun de ces quartiers se traduisent dans une dialectique entre ces habitants et le pouvoir. À l’échelle de la ville, nous nous intéressons aux espaces culturels publics et aux processus de leurs transformations au cours des années qui ont précédé et suivi la Révolution islamique. / The 20th century for Iranian people was involved with various changes and challenges in terms of needs and expectations. The changes in needs were rooted in two completely different sources: oil and Mashrote. The oil as a blessing gift from ground was the source of changes and challenges in Iran and Midealeast and the Mashrote was the initiation source of thinking transformation about society and individual and group freedom among Iranian population which was followed by the numerous movement and challenges such as freedom, national and religious values.In the length of 20th century, Tehran as the capital city of Iran along with every change in the structure of government as well as every Ideology changes has experienced new forms which were influenced by the commands and desires of authorities. Depended to social-political changes, the authority’s power exercising in some duration increased and in some cases decrease and the influences of this ideological movement gradually reflected in social and cultural spaces of society. In the case that government tended to modernization, the modern spaces were formed and if the government was following the Islamic culture, the religious spaces got more attention.One of the critical durations was Islamic Revelation of 1978 which was putting a lot of efforts to negate the past durations and trying to establish the new form of society. The first years of Islamic Republic which was followed by the war between Iran and Iraq were the years that revolutionaries was trying to uphold the Islamic revelation rules. All these direct and indirect rules had effects on social city. Now after three decades of huge changes, the revelation convalescence has passed and we are witness of changes and transformations in government structure as well as management and control of spaces.To assess the ensemble of changes and the people positions in acceptance or ignorance of these changes, three districts with different social, economic and political structures were selected where Beryânak- Haft Chenar, Nârmak, Shahrak-e Gharb the behavior, values and the needs of residence of each district will be considered as a dialectical between residences and authorities. In city scale, the cultural and public spaces and their changes trend before and after of Islamic revolution were investigated. / شروع قرن بیستم برای ایرانیان ، حامل چالش ها، تغییرات در زمینه نیازها و انتظارات بود، این تغییر خواسته هایدو سرچشمه کاملا متفاوت داشتند: نفت و مشروطه. نفت به عنوان نعمتی که از زمین می جوشید و سرچشمهتحولات و چالش های متفاوتی در ایران و خاورمیانه را در بر داشت، و مشروطیت که باعث تغییر و تحول در تفکرایرانیان نسبت به جامعه و آزادی های فردی و جمعی محسوب می شود، مشروطیتی که جنبش ها و چالش های بیشماری در پی داشت ، آزادی،ارزش های ملی یا ارزش های دینی .در طی سالهای قرن بیستم شهر تهران، پایتخت ایران ،با هر تغییر ساختار قدرت ، یعنی با هر تغییر ایده لوژی ، تحتتاثیر خواسته های دولتمردان ، فرمی جدیدی از اعمال فشار را تجربه کرده است. بسته به تغییر شرایط سیاسی اجتماعی در دوره هایی این کنترل و اعمال قدرت بر فضاهای عمومی رادیکال تر شده است و در بازه های زمانیکمتر. تاثیر تحولات ایدولوژیک بر فضاهای مرتبط با ساختار فرهنگی و جامعه بازتاب یافته است . اگر دولت بهدنبال مدرنیزاسیون بود، فضا های مدرن شکل می گرفتند و اگر به د نبال اشاعه فرهنگ اسلامی بود ، فضاهای مذهبیمورد توجه قرار گرفته اند.از دوره های حساس و قابل بحث ، انقلاب اسلامی سال 7531 بود که سعی در نفیساختارهای شکل گرفته در دوره های پیش از خود و در پی ایجاد فرم جدیدی از جامعه بود . اولین سالهای پس از حاکمشدن نظام جمهوری اسلامی و در پی آن جنگ مابین ایران و عراق بود ، که دهه اول پس از انقلاب را در بر می گیرد، مجموعه سالهایی بودند که انقلابیون در پی اجرای انجیل انقلابشان بودند. این مجموعه اعمال نظرها به طور مسقیم وغیر مستقیم بر کالبد و اجتماع شهری موثر بودند. در حال حاضر با گذشت بیش از سه دهه از این تحول عظیم ، دورهنقاهت پس از انقلاب اسلامی سپری شده است و در طی این سه دهه شاهد تغییر ، تحول و دگرگونی های در ساختارقدرت و نحوه اداره، مدیریت و کنترل فضای عمومی بوده ایم . برای بررسی مجموعه این تغییرات و جایگاه مردم،در رد یا قبول این تغییرات، سه محله با ساختار اجتماعی، اقتصادی و سیاسی متفاوت با نام های بریانک -هفتچنار، نارمک و شهرک غرب را انتخاب و بررسی نموده ایم . در طی این تحقیق در صدد تحلیل فرم فضا، نحوهتعریف فضای عمومی، ارزش ها و نیازهای ساکنین هر یک از این سه محله در مقیاس خرد پرداختیم .در مقیاس شهربه بررسی فضاهای فرهنگی عمومی و روند تغییراتشان در سالهای پیش از انقلاب اسلامی و پس از آن در مقیاسکلان پرداختیم. چراکه فضای عمومی را عرصه دیالکتیک میان ساکنین و قدرت می شناسیم، خواه در مقیاس محله،خواه در مقیاس یک شهر.

Durante los últimos tiempos, la fotografía se ha convertido en una forma de expresión artística muy valorada. Desde mediados del s.XIX, ha sido el medio de registro de nuestras costumbres, eventos históricos e incluso vestigios arquitectónicos alrededor del mundo. No obstante, con el paso de los años y los avances del mundo digital, el material fotográfico parece haber pasado al olvido. Hoy en día, el Perú cuenta con una gran cantidad de material fotográfico considerado patrimonio histórico. Por ende, su conservación y adecuada exposición al mundo es fundamental. Lamentablemente, existe una carencia de infraestructura apropiada y personal calificado para su adecuada conservación. Ante esta problemática, se plantea desarrollar el Centro Fotográfico de Lima, el cual congregará, en un único lugar, la difusión, enseñanza y conservación de fotografía. Su ubicación céntrica y accesible, permitirá tener una gran acogida a nivel metropolitano. Estará ubicado en el distrito de Cercado de Lima en la urbanización de Santa Beatriz, la cual cuenta con arquitectura de valor histórico al ser una de las primeras urbanizaciones formadas tras la expansión de Lima a inicios del s.XX. La propuesta se enfoca en formar espacios de diálogo y contemplación tomando como punto de partida la adecuación con el entorno urbano, la repotenciación del uso del espacio público y peatonal, la permeabilidad de la relación interior-exterior y finalmente el uso de la luz natural como potenciador del espacio arquitectónico. Se busca crear un espacio cultural para todos aquellos que busquen conocer más sobre este arte. / In recent times, photography has become a highly valued form of artistic expression. Since the middle of the 19th century, it has been used to document our customs, historical events, and even architectural vestiges around the world. Nevertheless, over the past few decades and due to the advances of a more digitalized world, photographic material seems to have been long forgotten. Peru has a large amount of photographic material considered to be historical heritage. Therefore, its conservation and appropriate exhibition to the world is essential. Unfortunately, there is a lack of suitable infrastructure and qualified personnel for its proper conservation. To solve this issue, the creation of Lima’s Photographic Center is advised. The goal is to gather on a single place, the promotion, teaching, and conservation of photography. Its centric and accessible location will be well received at an urban level. It will be located on the Santa Beatriz urbanization in Cercado de Lima, privileged for its historical architectural value as it is one of the first established urbanizations after the expansion of Lima city in the early 20th century. This approach aims to create spaces for dialogue and contemplation, based on adapting the infrastructure into its urban environment, boosting the usage of public and pedestrian spaces, the permeability of the interior-exterior relationship and finally, using natural light as an enhancer to the architectural space. It seeks to create a cultural space for all of those who pursue learning about this art form. / Tesis

El propósito de la investigación tiene como fin proporcionar una serie de herramientas y criterios para el diseño arquitectónico de una Escuela de Artes Escénicas de alcance interdistrital. Promoviendo y consolidado una de las actividades que ha cobrado mayor fuerza en el desarrollo cultural de nuestro país en los últimos años, contribuyendo a cubrir las necesidades físico-espaciales artísticas de un número creciente de estudiantes de estas artes revalorizando su valor como componente cultural y de desarrollo social. Así mismo se pretende abordar la relación entre espacio-individuo-contexto enfocándonos en las relaciones entre la actividad (la práctica de las artes escénicas, su estudio, etc.) y el edificio arquitectónico (forma, espacio y superficie). Se hace énfasis en el estudio y la propuesta de espacios versátiles otorgando la posibilidad de que el edificio arquitectónico pueda albergar una enseñanza integral de las artes escénicas en todas sus formas y de comunicar a través de su materialidad. El proyecto se concentra entonces en resaltar como hito urbano y arquitectónico ubicándose como referencia de la ciudad y dando posibilidad de que la población de distintas áreas de lima pueda converger en un solo punto. / The purpose of the research is to provide a series of tools and criteria for the architectural design of a interdistrict School of Performing Arts. Promoting and consolidating one of the activities that has gained greater strength in the cultural development of our country in recent years, helping to meet the artistic physical-spatial needs of a growing number of students of these arts, revaluing its value as a cultural and cultural component. social development. Likewise, it is intended to address the relationship between space-individual-context by focusing on the relationships between the activity (the practice of performing arts, its study, etc.) and the architectural building (form, space and surface). Emphasis is placed on the study and the proposal of versatile spaces, giving the possibility that the architectural building can house an integral teaching of the performing arts in all its forms and of communicating through its materiality. The project then concentrates on standing out as an urban and architectural landmark, positioning itself as a reference for the city and giving the possibility that the population of different areas of Lima can converge in a single point. / Tesis