Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-10T11:31:34Z No. of bitstreams: 1 Bruno Soeiro Vieira.pdf: 1942399 bytes, checksum: e05f53bbeb7b51a212004be3a3c32223 (MD5) / Made available in DSpace on 2017-01-10T11:31:35Z (GMT). No. of bitstreams: 1 Bruno Soeiro Vieira.pdf: 1942399 bytes, checksum: e05f53bbeb7b51a212004be3a3c32223 (MD5) Previous issue date: 2016-12-14 / The right to the urban environment, as a fundamental right of the human being, must be protected by the state and by society in a joint and harmonious action. In the cities environment, the theme of the built cultural heritage that compose the scenario of Brazilian historical cities requires attention. These isolated buildings and urban settlements more clearly represent urban identity and memory and their study makes it possible to understand how the spatial configuration process of cities, their historical evolution, the actors that constructed it and the socioeconomic context which buildings were built. Therefore, it is understood that the protection of built cultural real estate located in Brazilian cities must be carried out through all legal instruments in force in the Brazilian urban planning order. However, it is understood that the legal instrument of historical-cultural preservation, although important, is insufficient to effectively protect the built cultural patrimony, which is so important to the preservation of the memory and identity of Brazilian cities. Thus, it is necessary that alternative instruments are also used in order to improve the protection of the urban environment in the artificial and cultural aspects. From this evidence, this academic thesis decided to investigate the use of municipal taxes in the extra-fiscal perspective with the purpose of stimulating the preservation, conservation and restoration of the set of cultural properties built of significant historical and cultural value located in the historical cities scattered throughout the country in which there are Urban groups listed by the National Historical and Artistic Heritage Institute (IPHAN) / O direito ao meio ambiente urbano, enquanto um direito fundamental do ser humano, precisa ser tutelado pelo Estado e pela sociedade em uma ação conjunta e harmoniosa. No ambiente citadino, merece atenção a temática concernente ao patrimônio cultural edificado que compõem o cenário das cidades históricas brasileiras. Tais imóveis isolados e os conjuntos urbanos representam, de modo mais contundente, a identidade e a memória urbana e seu estudo torna possível entender como aconteceu o processo de configuração espacial das cidades, sua evolução histórica, os atores que a compuseram e o contexto socioeconômico no qual as edificações foram erguidas. Então, considera-se que a proteção dos bens imóveis culturais edificados localizados nas cidades brasileiras precisa ser realizada através de todos os instrumentos jurídicos vigentes na ordem urbanística brasileira. No entanto, compreende-se que o instrumento jurídico do tombamento, apesar de importante, é insuficiente à efetiva proteção do patrimônio cultural edificado, este que é tão importante à conservação da memória e da identidade das cidades brasileiras. Assim, é necessário que instrumentos alternativos sejam também utilizados objetivando aprimorar a salvaguarda do meio ambiente urbano nos aspectos artificial e cultural. A partir desta evidenciação, esta tese se propôs a investigar a utilização dos tributos municipais na perspectiva extrafiscal objetivando estimular a preservação, a conservação e a restauração do acervo de imóveis culturais edificados de significativo valor histórico-cultural situados nas cidades históricas espalhados pelo país nas quais existem conjuntos urbanos tombados pelo Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN)

This study sets out to explore the process of city planning through the design of an urban area in relation to a cultural world heritage. The purpose of this study is to get a deeper knowledge of the design process that planners and architects go through when developing urban areas in the city. As an architect student, I want to put the knowledge that I have gained during my education to the test and work with a project that is similar to what one will work with in the future. In my thesis I have worked with different approaches on the subjects of urban planning, city planning, landscape architecture and environmental behavior. The material used in this study is based on data from observations, interviews, literature studies and feedback from a reference group of architects. I have chosen to use my methods interdisciplinary to create a wider perspective when analyzing and designing an urban space.The result of my studies have culminated in a design proposal focused on creating sustainable social spaces with a connection to history, culture and art. / I det här kandidatarbetet utforskas processen för stadsplanering genom att utforma ett stadsområde i relation till ett kulturellt världsarv - Visby med dess ringmur. Syftet med denna studie är att få en djupare kunskap om den designprocess som planerare och arkitekter går igenom när de utvecklar tätorter i staden. Som arkitektstudent vill jag sätta de kunskaper, som jag fått under den här utbildningen, på prov. I mitt examensarbete har jag arbetat med olika tillvägagångssätt som Grounded Theory och Inquiry by Design, inom ämnena samhällsplanering, stadsplanering, landskapsarkitektur och miljöbeteende. Materialet som används i studien är baserat på data från observationer, intervjuer, litteraturstudier och handledning från en referensgrupp av arkitekter. Jag har valt att använda mina metoder tvärvetenskapligt för att få ett brett perspektiv när jag analyserar och utformar ett stadsrum. Resultatet av mina studier har utmynnat i ett designförslag med fokus på att skapa hållbara sociala rum med koppling till historia, kultur och konst.

Darśana is an an interactive, multi-channel installation offering participants an artistic, somatic immersion in Hindu mythology. The exhibit interprets the Hindu concept of 'darśana'—a practice involving the experience and observance of a deity—through a contemporary lens. At the heart of the installation is Lord Kṛṣṇa, the beloved flutist deity celebrated for his wisdom and charm. Participants are immersed in a digital rendition of his native forested land, Vṛndāvana. Here, they are encouraged to move, dance, and interact with their surroundings. By presenting ancient stories through new media technologies, "Darśana" explores the potential of modern technology to reinterpret and revitalize traditional practices and beliefs for contemporary audiences, drawing their attention to their cultural heritage. / Master of Fine Arts / Darśana is an an interactive, multi-channel installation offering participants an artistic, somatic immersion in Hindu mythology. The exhibit interprets the Hindu concept of 'darśana'—a practice involving the experience and observance of a deity—through a contemporary lens. At the heart of the installation is Lord Kṛṣṇa, the beloved flutist deity celebrated for his wisdom and charm. Participants are immersed in a digital rendition of his native forested land, Vṛndāvana. Here, they are encouraged to move, dance, and interact with their surroundings. By presenting ancient stories through new media technologies, "Darśana" explores the potential of modern technology to reinterpret and revitalize traditional practices and beliefs for contemporary audiences, drawing their attention to their cultural heritage.

本篇論文以高步侗族村寨為研究地點，其位於湖南省懷化市通道侗族自治縣坪坦鄉。高步侗寨屬於通道縣坪坦鄉下轄的村組織，由高升行政村、高上行政村、克中行政村所組成，三個村底下管轄著岩寨、秧田、上寨屯、高升、龍姓、高坪六個自然村。高步侗寨四週為山地，中間有一條河流經，其中約有561戶、2410人，交通較為不便，因此少有外人進入。 　　侗族村寨整體與周遭自然環境相輔相成，進而達到巧妙的平衡；侗人家屋的空間格局，與人在其中的活動息息相關；在公共空間──鼓樓、風雨橋中，看見人群間的交際往來；村寨中的田地、道路、水塘、河流，串聯起人們的生產生活。侗寨中的每個空間，都是人與環境交互影響之下的產物，筆者欲從中探討其文化脈絡與空間建構的關係。 　　近幾年來，中國各地的少數民族村寨旅遊也如火如荼地發展著，觀光成為村寨快速發展經濟的主要途徑，但在發展觀光業的同時，卻也逐漸流失其珍貴的傳統文化而不自覺。因此，筆者欲以高步侗寨為例，探討高步侗人的空間建構文化，分析隱含於其中的文化內涵，小至家屋、大至整體村寨，觀察人與自然環境之間如何相互牽繫，相輔相成地形成獨特的居住形式，探究高步侗人在面臨劇烈的現代化變遷後，如何經過自身文化體系的調適，在傳統文化與新事物的相互調和中，發掘高步侗人的文化價值，筆者欲針對現代化之影響提出相對應的觀念與措施，進而保存傳統文化，避免文化流失於洪流中而不復返。 / The thesis mainly focuses on Kam in Gaobu village, which is located in Huaihua City, Hunan Province. Gaobu village is under the jurisdiction of Pingtan, Tongdao Dong Autonomous County and comprises three administrative villages: Gaosheng, Gaoshang, and Kezhong. Under the administrative villages, there are 6 natural villages: Yanzhai, Yangtian, Shangzhaitun, Longxing, and Gaoping. Gaobu village is surrounded by mountains. There is a river flowing through the area, which lives about 561 households and 2,410 people. Visitors are not often to see because of the inconvenient traffic. Kam villages are influenced by surrounding natural environment and reach a subtle balance. The spaces of Kam houses are highly related to their daily life. Interactions between villagers happen in public spaces, such as Gǔlóu (鼓樓) and Fēngyǔ Bridge (風雨橋); the production and life of people are composed of the fields, paths, ponds and rivers in the villages. Every space in Kam villages reflects the interaction between people and the environment. The purpose of this study is to discuss the relation between cultural context and the construction of space in Kam villages. In recent years, the rural tourism in ethnic minority areas has been fast-expanding. Tourism has become the main solution of economic development for villages. Meanwhile, people have gradually lost their traditional culture without consciousness. Therefore, this study takes Gaobu village as an example and attempts to talk about the culture of the construction of space of Kam people in Gaobu; analyze the cultural connotation within; observe how people interact with the natural environment and develop the unique way of inhabitation from houses and the whole village. In addition, this study explores that how Kam people in Gaobu bring back cultural values after the accommodation of their culture system, and the harmonizing of traditional culture and new things, when facing the drastic modernization. In response to the impact of modernization, this study aims to propose corresponding concepts and measures to preserve traditional culture instead of losing it.

cotutelle / Cette recherche s’intéresse à la place de l’objet, les sens qu’on lui donne, les usages qui en sont faits, les récits qui l’entourent, dans le contexte des ruptures de la période coloniale et face aux processus actuels de résurgence qui touchent les sociétés inuit contemporaines, en prenant comme fil directeur celui de la préservation culturelle. Je participe aux réflexions menées depuis quelques années dans le champ de la culture matérielle autour des fonctions sociales et mémorielles des objets. Je m’inscris aussi dans une démarche pluridisciplinaire visant à compléter une vision pluriculturelle des différents discours, formulés de l’extérieur et de l’intérieur, sur le Nord. Cette recherche se penche dans un premier temps sur le bâtiment de l’ancienne mission catholique à Kangiqsujuaq (Nunavik). Le bâtiment fait aujourd’hui partie du paysage patrimonial et mémoriel de Kangiqsujuaq en tant que plus vieux édifice de la communauté encore existant. Les objets qui s’y trouvent fonctionnement comme une collection témoin des relations établies entre différentes personnes et différents groupes, permettant de produire une histoire inuit de la culture matérielle allochtone dans le Nord. Un autre élément de ma recherche porte sur le rôle joué par l’agencement des objets en collections, leur qualification au sein de différentes catégories, leur définition et leur documentation par des acteurs divers. Les différentes institutions culturelles et patrimoniales fondées tout au long du 20ème et du 21ème siècles fonctionnent alors comme un réseau d’outils sociaux d’appropriation de la culture, qui s’éloignent ainsi des initiatives individuelles et communautaires, en implantant un certain nombre de structures et de méthodes. La thèse aborde les enjeux et les ambivalences liés à l’institutionnalisation des processus de préservation et de transmission culturelle. Une partie de la recherche est consacrée à la place de la créativité individuelle dans la reconstruction des modalités de transmission et dans la revitalisation des pratiques. La thèse se termine sur une réflexion portant sur l’établissement d’une souveraineté rhétorique, en prenant pour exemple le musée des Beaux-arts de Montréal. Je reviens tout d’abord sur les différents moments de contestation autour des musées, puis sur la transformation des paradigmes d’interprétation des objets, et plus particulièrement des objets qualifiés en œuvres d’art. Je touche là à un aspect particulier parallèle et interrelié aux questions de préservation culturelle, en explorant les récits autour des objets par le biais de la résurgence d’épistémologies inuit dans les paradigmes d’interprétation, et par la même sur les enjeux de présenter, et de représenter, les récits de continuité et de survivance. Le déroulement de cette thèse suit un cours majoritairement thématique, et se découpe en quatre chapitres soulignant la spécificité d’opérations réalisées dans différents environnements et par une diversité d’individus. J’en conclus que la préservation culturelle, au sein des sociétés inuit, peut être comprise comme un processus réflexif, visant l’autorégulation et l’auto-référentialité, qui inclut non seulement des dynamiques de sauvegarde matérielle et immatérielle, mais aussi des discours d’affirmation et de revendication, des phénomènes de réappropriation, de réactualisation et de revitalisation, de même que des moments de dissensions, de rejets et d’oublis. / This research focuses on the place of objects, their meanings, their uses, their stories, in a context of colonial disruptions and in the light of current resurgence processes affecting contemporary Inuit societies. I look more specifically at the issue of cultural preservation. I take part in the academic discussions carried out for a few years in the field of material culture, around the social and memorial functions of objects. Adopting a multidisciplinary approach, I also wish to take part in completing a multicultural grasp of the different discourses, formulated from the outside and from the inside, on the North. This research is firstly concerned with the building of the former Catholic mission in Kangiqsujuaq (Nunavik). This building is now part of Kangiqsujuaq heritage and memorial landscape, as the community’s oldest structure still standing. The objects left in it collectively function as witnesses to the relationships established between different people and groups. It supports as such the articulation of an Inuit history of non-Inuit material culture in the North. Another element of my research was the role played by the assemblage of objects in collections, their qualification within different categories, their definition and documentation by various actors. The cultural and heritage institutions founded throughout the 20th and 21st centuries function as a network of social tools for appropriating culture, thus moving away from individual and community initiatives, by implementing a number of structures and methods. This thesis then addresses the issues and ambivalence related to the institutionalization of cultural preservation and transmission. Part of the research is then devoted to the place of individual creativity in the reconstruction of transmission modalities and in the revitalization of practices. The thesis finally looks at the establishment of a rhetorical sovereignty, with a focus on the Montreal Museum of Fine Arts, by first exploring the different moments of contestation in museums. It then examines the shifting interpretative paradigms around objects, and more specifically around objects categorized as works of art. As such, I address a particular aspect parallel and interrelated to questions of cultural preservation, by exploring the narratives around objects and the resurgence of Inuit epistemology in interpretive paradigms. I then touch upon the stakes of presenting and representing narratives of continuity and survivance. This thesis follows a mostly thematic outline divided into four chapters highlighting the specificity of operations carried out in different environments and by a diversity of individuals. It brings the conclusion that cultural preservation, within Inuit societies, can be understood as a reflexive process, aiming at self-regulation and self-referentiality, which includes not only dynamics of material and immaterial safeguarding, but also discourses of cultural affirmation, processes of reappropriation, actualization, and revitalization, as well as moments of dissension, contestation and forgetting.

Denna studie undersöker förekomsten av kulturarv rörande menstruation i svenska museisamlingar samt i vilka samband de har deltagit i utställningar eller på annat sätt exponerats för allmänheten. Undersökningen ämnar även ta reda på om tabu relaterat till menstruation påverkat insamlingen och exponeringen av de såkallade ”menstruationsföremålen”. Det empiriska materialet utgörs av en enkätundersökning utskickad till vad som kan sägas vara det allmänna museiväsendet i Sverige bestående av centralmuseum, regionala museum, kommunala museum, stadsmuseum samt ytterligare tre kulturhistoriska museum med en svarsfrekvens på 85,4% då 81 av 96 museum har deltagit. Studien visar att 50,6% av museerna har menstruationsföremål i samlingarna och att majoriteten av dessa hade cirka 1-5 stycken sådana och att den absolut vanligast förekommande föremålskategorin var menstruationsskydd. 64,8% av museer med menstruationsföremål i samlingarna hade exponerat dessa för allmänheten, oftast bara ett fåtal föremål och det vanligast förekommande utställningsformatet var tillfälliga utställningar. Majoriteten av menstruationsföremålen har förvärvats åren 1951-2021. Huruvida menstruationstabut har påverkat förekomsten av kulturarv rörande menstruation i svenska museum är svårt att utröna baserat på denna studie. Däremot kan tabut ha påverkat vilken sorts föremål som finns i museernas samlingar då det mesta materialet utgörs av menstruationsskydd vars uppgift att kontrollera mensflödet kan spegla samhällets förhållande till menstruation som ofta utgörs av skamkänslor inför ämnet. / This study examines the existence of cultural heritage concerning menstruation in Swedish museum collections and in which contexts they have participated in exhibitions or been otherwise exposed to the public. The study also intends to find out whether taboos related to menstruation have affected the collection and exposure of the so-called "menstrual items". The empirical material consists of a survey sent to what can be said to be the general museum system in Sweden consisting of central museum, regional museum, municipal museum, city museum and three other cultural history museums with a response rate of 85.4% as 81 of 96 museums have participated. The study shows that 50.6% of the museums have menstrual items in the collections and that the majority of these museums had approximately 1-5 of such items. The most common item category was menstrual protection. 64.8% of museums with menstrual objects in the collections had exposed these to the public, usually only a few objects and the most common exhibition format was temporary exhibitions. The majority of menstrual items have been acquired in the years 1951-2021. Whether menstrual taboos have affected the existence of cultural heritage concerning menstruation in Swedish museums is difficult to ascertain based on this study. On the other hand, taboos may have affected the type of objects in museums' collections, as most of the material consists of menstrual protection, the task of which is to control the flow of menstruation, which may reflect society's relationship to menstruation, which often consists of feelings of shame about the subject.

In an attempt to practice inclusive planning, this research project explores whether Broadway Avenue functions as an ethnic commercial strip and identifies social, physical, and economic components that contribute to the Latino neighborhood/ barrio. Using pilot studies Loukaitou-Sideris (2000), Loukaitou-Sideris (2002), Rojas (1993), Manzumdar et al. (2000), Main (2007), and Fernando (2007) as a foundation, this research uses a single case study in addition to several research methods: 42 random surveys, literature review and analysis, site observations/pictures, and land use survey. Various scholars write that barrios have unique physical, social, economic, and political attributes. A new aesthetic, art, symbols, type of businesses, music, community events, and vendors all add to social ambiance and physical design of the neighborhood (Rojas,1993). The findings reported in this case study highlight that the majority of the people who are present at any given time on Broadway Avenue are Latino immigrants from a lower socio-economic background. They visit Broadway’s Latino commercial strip from across Los Angeles County to shop, work, and for leisure purposes. Broadway Avenue is a festive, popular, spiritual, and political public space for many Latino immigrants. Many of the study participants are attracted to Broadway’s diversity, architecture, aesthetics, culturally themed stores and restaurants; showing that this Latino commercial strip possesses deep social, physical and economic significance. Contributions of this study include a detailed description about Broadway Avenue beyond the existing literature review. Survey results provide valuable information about what study participants would like to be preserved for Broadway’s future. This information provides user-driven recommendations for preservation and change on Broadway Avenue. Broadway Avenue between Second Street and Olympic Boulevard in downtown Los Angeles is the focused area of this thesis project to provide a qualitative description of the environment of a Latino commercial strip. This thesis provides recommendations to urban planners as they attempt to preserve cultural elements of Broadway’s Latino commercial strip.