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Made available in DSpace on 2016-04-04T18:22:13Z (GMT). No. of bitstreams: 1 Fernanda Marafon Frau.pdf: 21096825 bytes, checksum: 419cbbaa67e957863eccea326483a4d5 (MD5) Previous issue date: 2016-02-04 / The Edif?cio Conjunto Nacional, designed by David Libeskind (1928-2014), is an example of modern architecture held in the city of S?o Paulo with a significant constructed area described as a mixed-use development, which sought to include in its architecture different urban activities. Its implementation plan, aligned with the coincidence between city block and urban geography, as well as its dimensional characteristics allows in it an appreciation of other forms of urban occupation, different from the usual land configuration for small lots. The construction of this building , between 1955 and 1962 at Avenida Paulista, corresponds to a metropolization period of S?o Paulo, changing the urban configuration of the commercial activities from the central area to Rua Augusta`s neighborhood, which leads to a new centralization in City. This research aims to study historical and cultural conditions of the development of its project, as well as the insertion of it in the abroad context of modern architecture, approaching both typology?s configuration and the new relationship between buildings and city, that appears with the territorial and demographic expansion of urban centers in the early twentieth century. The description and analysis of this building have considered two different parts: the initial design and the building already built. This approach intended to point out the transformations that occurred during the course of its construction, with the changes in the urban characteristics, the adjustments and differences between the purpose of the architect and the final building. The realization of this project under the existing circumstances and the current situation of Edif?cio Conjunto Nacional enable to demonstrate qualities of modern architecture built in this period and to open up a discussion of its relevance in response to the current constructions in the city. / O edif?cio Conjunto Nacional, projetado por David Libeskind (1928-2014), ? uma obra de arquitetura moderna realizada na cidade de S?o Paulo com uma importante ?rea constru?da e constitui uma edifica??o de uso misto, que procurou compreender na escala edil?cia as diferentes atividades urbanas. Sua condi??o de implanta??o, com a coincid?ncia entre quadra e lote, bem como sua caracter?stica dimensional, permite uma aprecia??o de formas de ocupa??o da cidade distintas da usual divis?o fundi?ria de pequenos lotes. A constru??o do edif?cio, entre os anos de 1955 e 1962 na Avenida Paulista, corresponde ao per?odo de metropoliza??o de S?o Paulo e ? transfer?ncia de parte das atividades comerciais da ?rea central para a regi?o da Rua Augusta, com a inaugura??o de uma nova centralidade na cidade. A pesquisa contempla as condi??es hist?ricas e culturais do desenvolvimento de seu projeto, bem como sua inser??o no contexto amplo da Arquitetura Moderna, abordando para tanto sua configura??o tipol?gica e as novas rela??es estabelecidas entre edif?cio e cidade que surgem com a expans?o territorial e demogr?fica dos centros urbanos, a partir do in?cio do s?culo XX. A descri??o e an?lise do edif?cio compreendem dois momentos distintos: o projeto inicial e o edif?cio constru?do. Esta abordagem tem o intuito de apontar as transforma??es ocorridas durante a trajet?ria de sua constru??o, com as mudan?as nas caracter?sticas da urbaniza??o da cidade, bem como as adapta??es e diverg?ncias entre a inten??o do arquiteto e a realiza??o do edif?cio. As condi??es de realiza??o do projeto e a atual situa??o do Edif?cio Conjunto Nacional possibilitam apontar qualidades das obras de Arquitetura Moderna realizadas no per?odo e ampliar a discuss?o sobre sua pertin?ncia como resposta para a atual constru??o da cidade.

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains vi, 214 p. Includes bibliographical references (p. 205-214). Available online via OhioLINK's ETD Center

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This paper delves into the realms of tragedy, memory and representation. Drawing upon the phenomenon of the Phantom Limb and extending it towards a theory of Phantom Bodies, various artworks - literary, theatrical and visual - are examined. After the conflagration of the terrorist attack, how are these absences grieved over and remembered through artistic representation? The essay examines this question by positioning itself amongst the scarred landscapes of post-September 11 New York and suicide bombings in Israel (2000-2006). Furthermore, it investigates whether humanity can be restored in the aftermath of an event in which certain individuals have sought to eradicate it. The fragmentation of the affected body in these scenarios is understood as further complicating processes of grief and remembrance. Artists who reject political polemic and engage with the dimensions of human loss are seen to have discovered means of referring to the absence caused by the act of terrorism. Three such recurring representations present themselves: ash and remnants, presence/absence and memory building. Phantom Bodies are perceived as simultaneously functioning as a reminder of the event itself, insisting upon the response of bearing witness, and as a symbol of the overwhelming power of humanity. Challenges arise when individuals or sections of the affected society deem these artworks to be inappropriate or explicit. Works considered include: Neil LaBute's play The Mercy Seat, Sigalit Landau's art installation The Country, Jonathan Safran Foer's Extremely Loud & Incredibly Close, Spike Lee's 25th Hour, Daniel Libeskind's architectural plans for the World Trade Center site, Eric Fischl's sculpture 'Tumbling Woman', Honor Molloy's autodelete://beginning dump of physical memory and A.B.Yehoshua's A Woman in Jerusalem. The accompanying play, Tales of Ash: A diptych for the theatre, is set in Melbourne, New York and Tel Aviv and deals with life in the face of and after terror. It veers between naturalism, poetic monologue and the epic. Tales of Ash contains two plays. The first centres on Mia, a young sculptor living in New York, who loses both her lover and her creativity on September 11. Upon returning to her home in Melbourne, she finds familial bonds still entwined with guilt and family trauma. The second play revolves around Ilana and Benny, two people living in Tel Aviv, who find themselves suddenly thrust together after a devastating bombing. As they attempt to resume rhythms of life, in the face of all the inherent ferocity of a modern existence in Israel, the struggle between The Ash Woman and The Ash Takers escalates.