How do we build for a specific place and culture in the age of globalization, where the notion of culture has become fluid and drawn from a multiplicity of locations? This thesis argues that rather than relying on ideologies of symbols, an authentic regional architecture must derive its meaning through the experience of localized rituals that take place over time, and thus give constancy to place. The notion of cultural identity in this thesis is explored through the story of the Baths and the Mineral Spring in Sofia, Bulgaria. This story takes us from the origins of the city, through its cultural mutations and transformations and finally to the questions posed by the decommissioned Baths. The thesis design proposal outlines an alternate architectural strategy to the current proposal: converting the Bath House into a prestigious spa center and ‘Museum of Sofia’. The alternate design in contrast, addresses the importance of place specific ritual and the still enduring practice of spring water collection - which has now been dislocated from the main Baths square. The question of authenticity in the design for the Baths Square is connected to the changing notion of cultural identity. The origins of which are rooted in our response to a particular environment; a rapport which has framed our social ideologies, cultural practices, and their formal manifestations. However, within the regimes of globalization cultural identity has become uprooted from ‘place’ and has come into crisis. In response to this crisis of identification, there is a frantic desire to reaffirm the local and re-envision a collective identity. This thesis proposes an architecture of the material imagination - which recognizes the multiplicity of our cultural reality today. It creates spaces that are not designed primarily on the visual level of the symbol but rather spaces which are to be experienced sensorially and habitually; only then becoming part of the collective experience and identity of the culture. These spaces reduce the specificity of the symbol as a depiction of ‘one’ identity, and rather derive cultural meaning from the experience of a unique and hierophantic place, and its living practice.

How do we build for a specific place and culture in the age of globalization, where the notion of culture has become fluid and drawn from a multiplicity of locations? This thesis argues that rather than relying on ideologies of symbols, an authentic regional architecture must derive its meaning through the experience of localized rituals that take place over time, and thus give constancy to place. The notion of cultural identity in this thesis is explored through the story of the Baths and the Mineral Spring in Sofia, Bulgaria. This story takes us from the origins of the city, through its cultural mutations and transformations and finally to the questions posed by the decommissioned Baths. The thesis design proposal outlines an alternate architectural strategy to the current proposal: converting the Bath House into a prestigious spa center and ‘Museum of Sofia’. The alternate design in contrast, addresses the importance of place specific ritual and the still enduring practice of spring water collection - which has now been dislocated from the main Baths square. The question of authenticity in the design for the Baths Square is connected to the changing notion of cultural identity. The origins of which are rooted in our response to a particular environment; a rapport which has framed our social ideologies, cultural practices, and their formal manifestations. However, within the regimes of globalization cultural identity has become uprooted from ‘place’ and has come into crisis. In response to this crisis of identification, there is a frantic desire to reaffirm the local and re-envision a collective identity. This thesis proposes an architecture of the material imagination - which recognizes the multiplicity of our cultural reality today. It creates spaces that are not designed primarily on the visual level of the symbol but rather spaces which are to be experienced sensorially and habitually; only then becoming part of the collective experience and identity of the culture. These spaces reduce the specificity of the symbol as a depiction of ‘one’ identity, and rather derive cultural meaning from the experience of a unique and hierophantic place, and its living practice.

Made available in DSpace on 2014-06-11T19:29:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-12-17Bitstream added on 2014-06-13T20:38:14Z : No. of bitstreams: 1 duartealves_a_me_assis.pdf: 2397609 bytes, checksum: afec903e7df6d306bdf0b40f1b34e843 (MD5) / Este trabalho consiste em um registro das histórias de pescadores da comunidade de Nova Porto XV – distrito de Bataguassu, Mato Grosso do Sul – atingida pela barragem da Usina Engenheiro Sergio Motta de Porto Primavera. Propomos um mergulho no imaginário dos pescadores principalmente no que se refere à história do povoado, ao trabalho no rio, ao deslocamento obrigatório após a cheia do lago e ao processo de adaptação. Compomos, a partir da linguagem desta gente, um quadro geral capaz de expressar sua compreensão da própria história, das forças políticas que interferiram no seu destino, dos fatos que se abateram sobre ela e tantos outros imprevistos deflagrados pela mudança forçada do lugar onde viviam. As narrativas colhidas no espaço público e nas conversas informais - histórias e casos sobre o passado e o presente - compõem uma crônica do cotidiano, exaltam a materialidade da vida e da ação transformadora do pescador sobre o espaço. Ao narrar, os pescadores devaneiam, concretizam sua apreensão da realidade. Devaneios esses que não atuam como meras abstrações ou fugas do real, pelo contrário são estratégias para agir sobre o mundo, construir a vida e retomar as rédeas do próprio destino. Esta forma particular de registro da memória coletiva propicia o encontro com as formas de organização das práticas e dos costumes na vila desde seu surgimento no início do século XX, passando por todas as suas variações, até uma descrição dos modos de vida atuais. As narrativas colhidas nas conversas informais do cotidiano dos pescadores revelam uma relação complexa e ambígua com o espaço e o tempo. Por um lado, mostra uma exultação provocada pela experiência do conforto e facilidade da nova vida urbana... / This project forms a record of the fishermen tales of the community of Nova Porto XV – district village of Bataguassu, Mato Grosso do Sul – flooded because of the dam of Engenheiro Sérgio Motta Power Plant in Port Primavera. We propose a dive in the imaginary of the fishermen, especially concerning the history of the village, the labor in the river, the mandatory displacement after the flooding of the lake and the adaptation process. We compose, from the language of those people, a general picture capable of expressing the comprehension of their own history, of the polical forces that interfered in their fate, of the facts that hit them and so many other unpredicted events triggered by the forced moving from the place where they lived in. The narratives, taken in public areas and informal conversations – histories and affairs about the past and the present – compose a chronicle of the daily routine, and exalt the materiality of life and the transforming action of the fishermen over the space. Those daydreams are not more abstractions or escapes from reality, on the contrary, they are strategies to act in the world, build life and take over the reins of their own destiny. This particular form of registraction of the collective memory merely provides the encounter with the forms of organization of the practices and the customs in the village from its start in the beginning of the 20th century, going over all its variations, up to a description of the current way of life. The narratives registered in informal conversations of the daily routine of the fishermen reveal a complex and ambiguous relationship with space and time... (Complete abstract click electronic access below)

Orientador: José Sterza Justo / Banca: Luiz Carlos da Rocha / Banca: Alexandre Benetti Lima / Resumo: Este trabalho consiste em um registro das histórias de pescadores da comunidade de Nova Porto XV - distrito de Bataguassu, Mato Grosso do Sul - atingida pela barragem da Usina Engenheiro Sergio Motta de Porto Primavera. Propomos um mergulho no imaginário dos pescadores principalmente no que se refere à história do povoado, ao trabalho no rio, ao deslocamento obrigatório após a cheia do lago e ao processo de adaptação. Compomos, a partir da linguagem desta gente, um quadro geral capaz de expressar sua compreensão da própria história, das forças políticas que interferiram no seu destino, dos fatos que se abateram sobre ela e tantos outros imprevistos deflagrados pela mudança forçada do lugar onde viviam. As narrativas colhidas no espaço público e nas conversas informais - histórias e casos sobre o passado e o presente - compõem uma crônica do cotidiano, exaltam a materialidade da vida e da ação transformadora do pescador sobre o espaço. Ao narrar, os pescadores devaneiam, concretizam sua apreensão da realidade. Devaneios esses que não atuam como meras abstrações ou fugas do real, pelo contrário são estratégias para agir sobre o mundo, construir a vida e retomar as rédeas do próprio destino. Esta forma particular de registro da memória coletiva propicia o encontro com as formas de organização das práticas e dos costumes na vila desde seu surgimento no início do século XX, passando por todas as suas variações, até uma descrição dos modos de vida atuais. As narrativas colhidas nas conversas informais do cotidiano dos pescadores revelam uma relação complexa e ambígua com o espaço e o tempo. Por um lado, mostra uma exultação provocada pela experiência do conforto e facilidade da nova vida urbana... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This project forms a record of the fishermen tales of the community of Nova Porto XV - district village of Bataguassu, Mato Grosso do Sul - flooded because of the dam of Engenheiro Sérgio Motta Power Plant in Port Primavera. We propose a dive in the imaginary of the fishermen, especially concerning the history of the village, the labor in the river, the mandatory displacement after the flooding of the lake and the adaptation process. We compose, from the language of those people, a general picture capable of expressing the comprehension of their own history, of the polical forces that interfered in their fate, of the facts that hit them and so many other unpredicted events triggered by the forced moving from the place where they lived in. The narratives, taken in public areas and informal conversations - histories and affairs about the past and the present - compose a chronicle of the daily routine, and exalt the materiality of life and the transforming action of the fishermen over the space. Those daydreams are not more abstractions or escapes from reality, on the contrary, they are strategies to act in the world, build life and take over the reins of their own destiny. This particular form of registraction of the collective memory merely provides the encounter with the forms of organization of the practices and the customs in the village from its start in the beginning of the 20th century, going over all its variations, up to a description of the current way of life. The narratives registered in informal conversations of the daily routine of the fishermen reveal a complex and ambiguous relationship with space and time... (Complete abstract click electronic access below) / Mestre

Submitted by Jailda Nascimento (jmnascimento@pucsp.br) on 2016-09-27T19:33:58Z No. of bitstreams: 1 Admilson Eustáquio Prates.pdf: 1506138 bytes, checksum: 8968db22fb2f3c53ee3d7d629376d949 (MD5) / Made available in DSpace on 2016-09-27T19:33:59Z (GMT). No. of bitstreams: 1 Admilson Eustáquio Prates.pdf: 1506138 bytes, checksum: 8968db22fb2f3c53ee3d7d629376d949 (MD5) Previous issue date: 2016-06-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research focuses on a classic work of Spanish Christianity of the Sixteenth Century, whose purpose is to study the Material and Mystical Imagination: traces of the four natural elements present in the work Interior Castle of St. Teresa d'Ávila. The object of research is composed of two aspects, one material or general and other formal or specific. The material aspect is the work Interior Castle of St. Teresa of Jesus. The formal aspect of the object is to identify traces of the four symbolic natural elements present in the mystical narrative. For that, we turn to the theoretical Gaston Bachelard in order to identify the four natural elements in the work. The ways, methodological procedures, which intended to follow to the resolution of the problem of this research are theoretical. In the theoretical field, will be developed a literature search (presented the authors / researchers in justification and bibliography) that approximates the question of religiosity, spirituality and mystic with the question of culture. First, we will do an approximatively reading to familiarize with the text, from the lens of the four natural elements, that is, imagination material in Gaston Bachelard. Then we will perform the collection of the Castle Interior work passages that indicate the presence of the four natural elements, that is, the material imagination. Thus, will be held the book report of the work and explored the passages according to the prospect of symbolic hermeneutics based on Gaston Bachelard. The third, final step in this process, is to apply the interpretation methodology, that is, the symbolic hermeneutic. That way, we will use for this research the symbolic hermeneutics in the work Interior Castle, from studies about material imagination in Gaston Bachelard / A pesquisa focaliza uma obra clássica do Cristianismo espanhol do século XVI, cuja finalidade é estudar a Imaginação Material e Mística: traços dos quatro elementos naturais presentes na obra Castelo Interior de Santa Teresa d'Ávila. O objeto da pesquisa é composto por dois aspectos, um material ou geral e outro formal ou específico. O aspecto material é a obra Castelo Interior, de Santa Teresa de Jesus. O aspecto formal do objeto é identificar traços dos quatro elementos naturais simbólicos presentes na narrativa mística. Para tanto, recorreremos ao teórico Gaston Bachelard a fim de identificar os quatro elementos naturais na obra. Os caminhos, procedimentos metodológicos, que se pretendem seguir para a resolução do problema desta pesquisa são teóricos. No campo teórico, desenvolver-se-á uma pesquisa bibliográfica (apresentados os autores / pesquisadores na justificativa e na bibliografia) que aproxime a questão da religiosidade, espiritualidade e mística com a questão da cultura. Primeiro, faremos uma leitura aproximativa para familiarizar com o texto, a partir da lente dos quatro elementos naturais, ou seja, imaginação material em Gaston Bachelard. Em seguida, realizaremos a coleta dos trechos da obra Castelo Interior que indiquem a presença dos quatro elementos naturais, ou seja, a imaginação material. Dessa forma, será realizado o fichamento da obra e explorados os trechos conforme a perspectiva da hermenêutica simbólica baseada em Gaston Bachelard. O terceiro, último passo nesse processo, é aplicar a metodologia de interpretação, isto é, a hermenêutico simbólica. Dessa maneira, utilizaremos para essa pesquisa a hermenêutico simbólica na obra Castelo Interior a partir dos estudos sobre a imaginação material em Gaston Bachelard

A GIRL, forced to marry her father after he sees her playing in his dead wife’s wedding gown, runs away wearing five dresses. Four dresses are of silk and they are beautiful. The last dress is of wood. It is in this dress that the girl escapes, throwing herself into the river to float away. A prince saves the girl but treats her badly, for she wears an ugly wood frock. Her suffering is eased at night when the girl takes off the wood dress and dances in her silk ones. The prince discovers the girl in the silk dresses and falls in love. They live happily ever after. This thesis is based on a fairy tale in which a girl’s life is changed by what she wears. In Fair Maiden Wood clothing is a means to identity. Costume is what identifies this girl as her father’s new bride, and it reveals to the shallow prince who his true love is. It is through clothing that we identify the fairy tale. But more significantly, it is through clothing that the girl experiences the outside world. The girl lives through her wood frock – it is the vessel by which she escapes the threat of incest, it is the prison that disguises her beauty from the prince; it is her armor, her cage, her temporary home. The wood frock becomes the girl’s first architecture, protecting and sheltering the girl in the most intimate manner, controlling her most immediate environment. But its role is not limited to enclosure; the wood dress also changes the girl’s experience of her surroundings, extending her bodily influence while also constraining it. The wood dress dictates how the girl moves, how much space she needs, how others see her, and how they treat her. It is an environment, elusively defined by the dialogue between her moving body and the surface of the wood shell surrounding her, which changes the girl’s quality of existence. In this in-between silhouette is a most potent, and poetic, form of architecture. In my thesis I continue the story of the girl in the wood frock through the design of three of her five gowns. The gowns reference the work of designers such as Cristobal Balenciaga or Issey Miyake whose clothes, by virtue of their construction and materiality, affect wearer and observer in startling and profound fashion. Their garments show a symbiotic relationship between body and shell, where the shell is not simply a passive enclosure but a responsive and independent extension of the body. My dresses are made with this symbiosis in mind, and I use their (painstaking) construction in order to propose that in clothing is the potential to create spatial environments that change fundamental perceptions by filtering and extending the wearer’s experience of the world and her effect on it. These dresses and the spaces they create are unique. They are not costumes of the everyday, used to suppress sensation in order to function; instead they are of the special day, when the girl seeks to be stimulated, enlightened, and also saved. They are dresses of heightened awareness, integrating both sense and action within their shifting boundaries, shaping a dynamic, albeit fleeting, architecture.

A GIRL, forced to marry her father after he sees her playing in his dead wife???s wedding gown, runs away wearing five dresses. Four dresses are of silk and they are beautiful. The last dress is of wood. It is in this dress that the girl escapes, throwing herself into the river to float away. A prince saves the girl but treats her badly, for she wears an ugly wood frock. Her suffering is eased at night when the girl takes off the wood dress and dances in her silk ones. The prince discovers the girl in the silk dresses and falls in love. They live happily ever after. This thesis is based on a fairy tale in which a girl???s life is changed by what she wears. In Fair Maiden Wood clothing is a means to identity. Costume is what identifies this girl as her father???s new bride, and it reveals to the shallow prince who his true love is. It is through clothing that we identify the fairy tale. But more significantly, it is through clothing that the girl experiences the outside world. The girl lives through her wood frock ??? it is the vessel by which she escapes the threat of incest, it is the prison that disguises her beauty from the prince; it is her armor, her cage, her temporary home. The wood frock becomes the girl???s first architecture, protecting and sheltering the girl in the most intimate manner, controlling her most immediate environment. But its role is not limited to enclosure; the wood dress also changes the girl???s experience of her surroundings, extending her bodily influence while also constraining it. The wood dress dictates how the girl moves, how much space she needs, how others see her, and how they treat her. It is an environment, elusively defined by the dialogue between her moving body and the surface of the wood shell surrounding her, which changes the girl???s quality of existence. In this in-between silhouette is a most potent, and poetic, form of architecture. In my thesis I continue the story of the girl in the wood frock through the design of three of her five gowns. The gowns reference the work of designers such as Cristobal Balenciaga or Issey Miyake whose clothes, by virtue of their construction and materiality, affect wearer and observer in startling and profound fashion. Their garments show a symbiotic relationship between body and shell, where the shell is not simply a passive enclosure but a responsive and independent extension of the body. My dresses are made with this symbiosis in mind, and I use their (painstaking) construction in order to propose that in clothing is the potential to create spatial environments that change fundamental perceptions by filtering and extending the wearer???s experience of the world and her effect on it. These dresses and the spaces they create are unique. They are not costumes of the everyday, used to suppress sensation in order to function; instead they are of the special day, when the girl seeks to be stimulated, enlightened, and also saved. They are dresses of heightened awareness, integrating both sense and action within their shifting boundaries, shaping a dynamic, albeit fleeting, architecture.