Orientador: Silvana Barbosa Rubino / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T10:05:33Z (GMT). No. of bitstreams: 1 Susin_IvaniaValim_M.pdf: 8583299 bytes, checksum: 0afe2acdd65aa89530f1ab1bcdace597 (MD5) Previous issue date: 2010 / Resumo: O Acervo Edmundo Gardolinski constitui-se no principal conjunto documental desta pesquisa. Gardolinski (1914-1974) era descendente de poloneses, engenheiro civil e fotógrafo amador. Seu acervo consiste em uma coleção de vestígios particulares de inúmeros temas da vida pessoal e profissional, arquivados em diferentes suportes. São livros, jornais e revistas, cartas, anotações pessoais e fotografias. Do conjunto documental, selecionei apenas a porção fotográfica e, a partir dele, as fotografias da construção da Vila do IAPI, em Porto Alegre - o mais importante projeto profissional da vida de Gardolinski. O objetivo da pesquisa é inserir-se nos debates sobre o uso da fotografia em trabalhos históricos, considerando a imagem técnica como um artefato material, autônomo e independente de seu autor ou referente. A análise inclui a circulação e a influência dos objetos na relação entre eles e os sujeitos, e entre os sujeitos. Além disso, as fotografias são entendidas enquanto suportes de uma memória arquivada, ao conformar uma imagem de si do sujeito, ao mesmo tempo em que criam uma nova visualidade para a Vila do IAPI / Abstract: The Collection Edmundo Gardolinski constitutes the main set of documents of this research. Gardolinski (1914-1974) was a descendant of Polish immigrants, civil engineer and amateur photographer. His collection consists of a compilation of particular traces of numerous issues of his personal and professional life, archived on various media. It is composed of books, newspapers and magazines, letters, personal notes and photographs. Within this collection, I have only selected the photography portion and, among them, the photographs of the construction of Vila do IAPI in Porto Alegre - the most important project of Gardolinski's professional life. The purpose of the research is to promote an insertion in debates about the use of photography in historical works, considering the technical image as a physical artifact, autonomous and independent of its author or referent. The analysis includes the circulation and the influence of the objects in the relationship between such objects and the subjects, as well as between subjects. Moreover, the photographs are seen as carriers of a filed memory, since it conforms an image the subject itself, while creating a new visuality for the Vila do IAPI / Mestrado / Politica, Memoria e Cidade / Mestre em História

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The following is a design for a new Catholic church for the Sts. Peter and Paul parish in rural 12 Mile, Kentucky. The existing church building is set into a hillside, mostly underground. It was originally intended to be the basement but had to be used as the church once funding ran low during construction. Through my design I wanted to create a space that would be both welcoming for the parishioners to gather each Sunday yet feel spiritual even when mass is not taking place. To achieve this I wanted to make a space used for nothing but the functions of the Liturgy, any circulation, bathrooms, mechanical services or even confessionals should not detract from the space. By using two massive double concrete walls that would encompass all of the non-essential functions of the church, the space between the walls was freed up to be used as the body of the church where nothing but the Liturgy of the Eucharist would take place. / Master of Architecture

Unsettling Colonial Science: Modern Architecture and Indigenous Claims to Land in North America and the Pacific examines the contested landscapes of research infrastructure and settler colonialism. During the 1950s and 60s, as the Cold War accelerated, Big Science sought new frontiers both conceptual and spatial. While the alliance between modern architecture and postwar scientific research has been the subject of significant historical work, the settler colonial politics and land relations ingrained in these large-scale laboratories and research stations has gone under-discussed. Investigating federally-funded research installations constructed from the 1950s-1990s, this dissertation addresses how Cold War-era science participated in the settlement of landscapes perceived as inhospitable through discourses and practices of “modernism.” It also examines Indigenous opposition to these land occupations as acts of self-determination. Covering a wide geography—from the Kitt Peak Observatory on Ioligam Du’ag in the Tohono O’odham Nation, to the Inuvik Research Laboratory in Inuvik in the Northwest Territories of Canada, to the Mauna Kea Observatories on the Mauna Kea volcano on the island of Hawai‘i this dissertation moves between spaces where the universalism, modernism, and colonialism of the postwar settler colonial project are contested through material practices in the landscape and built environment. These places reveal how settler colonialism contributed to US empire in the twentieth century. Importantly, they also broaden discourses of resistance and refusal, showing how traditional land use, material culture, and mobility practices give rise to resistance movements. This dissertation investigates how different resistance movements protested the construction of research infrastructures on their lands. Across these cases, modern architecture does not operate uniformly. In some instances it is part of a state-initiated modernization project; in others affiliated with military-industrial architecture; and others an aesthetic exercise in a romanticized landscape. But in all, architecture is used to reify a division between Western modernity and “traditional knowledge” that undercuts land-based claims to sovereignty. Tohono O’odham, Kānaka Maoli, and Gwich’in activists and practitioners, along with environmental advocates and allies, mobilized grounded forms of refusal to insist that land use is political. I argue that these places and their histories reveal how modern architecture orders the land and its political meaning within settler colonial contexts. In the mid-twentieth century, federal science agencies, engineering departments, and architecture corporations deployed modernism as an instrument to make public and trust lands productive and national. Architecture is also a site where jurisdiction, land use, and the relationship to land is contested. These contestations open on to anticolonial histories of the built environment.

Houston modern architect, Karl Kamrath (1911-1988), collected books, periodicals, and archival material that document the career and legacy of Frank Lloyd Wright. Kamrath identified himself as a collector of Wright and a devotee to the principles set forth by the master architect. In this thesis, I present Kamrath’s collection by organizing the materials by subject, considering how Kamrath marked books and journals, and drawing connections between his collecting interests and his architectural work. Kamrath collected and consumed information on Wright and organic architecture and then presented his own articulations of the principles in built form. His interest in organic architecture was evident in his projects that blended into the landscape and satisfied the individual needs of each client. The purpose of this thesis is to contribute to the story on Karl Kamrath, adding the details of the collection he donated to The University of Texas at Austin. / text

Wong Wing Kin Ken. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2005-2006, design report." / Includes bibliographical references (leaves 65-66).

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This thesis aims to examine the Turkish Pavilion in the Brussels Expo &amp / #8217 / 58 in order to comprehend architectural modernization in Turkey during the 1950s. The Pavilion as well as Turkey&amp / #8217 / s participation in the Expo&amp / #8217 / 58 can be considered as special cases that provide the significant information about contemporary context of the country. In parallel with the changes occurred in the world in the aftermath of the Second World War, the postwar period in Turkey transformed towards modernist attitudes not only in architectural realm but also in socioeconomic discourses and practices. The case of the Turkish Pavilion has important and remarkable characteristics in many respects of architectural modernization in the country. Having analyzed the Expo &amp / #8217 / 58 as an international event, the main part of the study aims to discuss Turkey and the Turkish Pavilion in the Expo with the related and detailed information. This chapter is composed of four main parts. Having discussed the role of the state in the new international structure, the locus of the Turkish Pavilion within contemporary architectural scene is, firstly, examined. The second part intends to reveal the specific characteristics of the Pavilion. The next part is an examination to explain the conscious effort to construct the idea of the synthesis of arts in the architecture of the Pavilion. Finally, the last part explores, firstly, the exhibition and the display objects within the Pavilion in terms of their contents, secondly, the wide-ranging activities and events of the Turkish participation beyond the Pavilion.

In 1946, House Beautiful's editor-in-chief Elizabeth Gordon launched the Pace Setter House Program, an annual series of exhibition houses that proposed a new modern architecture for postwar America. Set in direct opposition to Arts & Architecture's Case Study Houses, the Pace Setter houses criticized orthodox modernism, and offered a "livable" and distinctly American alternative. Organic design, particularly the work of Frank Lloyd Wright, further informed this new concept of American modernism, adding a rich layer of humanism, naturalism, and democratic idealism. Rejecting the Case Study prototype of universal solutions and prefabrication, the Pace Setter houses advocated a solution in which the craft of building guaranteed regional variation, artistic quality and individual expression. House Beautiful's Pace Setter Program, with its implicit organic roots, underscored one of the most charged architectural debates of the postwar period: the renewed tension between the specific and the general, the regional and the international, the individual and the collective. With the establishment of the Pace Setter House Program, Gordon developed a mature paradigm for the postwar house -- and simultaneously created a dynamic public forum for architectural debate. With the Pace Setters as counterpoint, she lashed out against the architectural current to attack what she viewed as the greatest threat to American design: the unlivable, autocratic, and foreign modernism of the International Style. Gordon's role in the larger architectural debate was critical, not only in her vociferous opposition to what she viewed as a blind continuation of an oppressive modernist lineage, but in her stalwart support of alternative design tropes. The Pace Setter Houses and their architects -- ranging from Cliff May to Alfred Browning Parker to Harwell Harris -- represented one battlefield in the aesthetic and philosophical struggle between the emerging modernisms of the postwar period. Accompanied by Gordon's insistent voice and publications, the Pace Setters became ammunition in an architectural revolution that, for House Beautiful, lasted nearly twenty years. The Pace Setters chronicled the emergence of a vital strand of American modernism, and provided a lens through which to view the ultimate integration and acceptance of modernism within the mainstream of middle-class America.

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