In the nineteen nineties, former Yugoslavia, went through a series of interstitial disputes, both religious and political, which evolved into hatred amongst its own people and ultimately into an unforgiving civil war. Rising demonstrations of the groups with different religious and cultural views within the country’s boundaries amalgamated into a war which divided the state into separate countries and left many cities and villages in despair, economic desolation and poverty. Although some have been directly affected by the physical casualties of war, others have suffered indirectly. One of the villages affected is Ruski Kerestur, found in the Republic of Serbia where more than ninety percent of the residents are non-Serbian. Many of its people fled the country due to political and economic uncertainties. This minority group is of the Carpatho-Rusyn decent which are the heart and soul of the village. Inspired by personal motive and desire to heal communities in distress, this thesis presents an opportunity to reconcile Carpatho-Rusyn people from the social diaspora in attempt to reclaim their national identity and give them the courage to persist on and continue the cultural legacy that has been nurtured for generations. Leaning on the speculation that ‘a spirit in people and belief in the future comes from the very foundation of a building’; it utilizes an architectural intervention as basis to conceive a quintessential communal space that redefines social and practical functions necessary for cultivating Rusyn traditions, ethics and domestic values. To develop an understanding of their public realm, the thesis dips into the crevices of time searching for Carpatho-Rusyn progress of development and migratory movement from their homeland in the Carpathian Mountains to the present day conditions. It tends to explore the idea of ‘adaptation’, the ideology that defines an architectural type through the process of transformation and negotiation of a community and its direct effect on public space, urban system and architectonic form. These theories will become a kernel for producing a useful and meaningful civic landmark that will strengthen the spirit of people giving hope and new life to the wounded village. The new ‘living monument’, Carpatho-Rusyn Art Gallery and Reconciliation Centre, presents a new gateway for Ruski Kerestur and its people into the healthy future shedding light on their moral values which were tamed for centuries by wars, ethnic cleansing and inexorable conviction of their non existence. The design proposal reintroduces a Rusyn way to the world and echoes the emotion of pride which permeates every Rusyn soul.

This master essay deals with the changes in the use of and the abandonment of the Avebury monument and the change of the surrounding landscape during the late Neolitihic, about 3000 B.C, and into the Bronze age, about 1500 B.C. The change in the way people supported themselves, the development of agriculture, brought along many other changes as well. I am in this paper dealing with these issues, how and what lead up to these changes, the peoples own part in the development, and I am also looking into the fact that these changes might not have meant an end of old ideologies, but rather a development in the expression of beliefs where the monuments of the neolithic no longer had a place in society.

Exposure to atmospheric conditions results of deterioration in historic monuments. and their stones. Limestone conservation presents many problems that have to be investigated in detail. In this study, limestone deterioration and development of its conservation treatments were investigated through examination of the statues carved from karstic limestones in Nemrut Dag Monument. The decay mechanisms that had major roles in their deterioration during two thousand years of exposure to atmospheric conditions and the development of their conservation treatments involved several types of analyses that were carried out in the field and in the laboratory. Exposed surfaces of limestones having karstic veins, interior crack surfaces were examined and compared with relatively undeteriorated interior parts. Similar limestones from the geological formations nearby were artificially deteriorated by salt crystallization and were also examined for comparison. Standard physical and physicomechanical tests, petrographical analysis, XRD, SEM-EDX and FTIR were used during those examinations. Swelling nature of clays in limestones and their control were quantified by CEC measurements. The micro structure of limestone was observed to be composed of micritic calcite with karstic veins of sparitic calcite crystals. Some karstic zones were found to be preferred sites of dissolution and precipitation of calcium carbonate where swelling action of clays and widening of cracks occurred. Iron oxides that moved through those zones, as well as biological activity were also found to contribute to those phenomena. Preparation of high concentrations of nanodispersive calcium hydroxide solutions was achieved for the conservation treatments of the deteriorated limestone. Success of treatments with nanodispersive Ca(OH)2 solutions targeted to the decay zones were discussed in terms of their ability to control the swelling action of clays, carbonation of nanodispersive solution, and improvement in the physicomechanical properties of treated limestone.

My dissertation revises our assumptions about the Renaissance commonplace that poetic monuments last longer than marble ones. We tend to understand the commonplace as being about the materiality of artistic media and thus the comparative durability of text and stone. In contrast, I argue that English Renaissance poets and theorists treat the monument of verse as a space where their hopes for the poem’s future converge with broader cultural concerns about the reception of the ancient past and the place of English vernacular poetry within the hierarchy of classical and contemporary European letters. In Renaissance poetics manuals, authors appropriate a newly classicizing architectural vocabulary to communicate confidence in the lasting power of English poetic structures. Through their use of architectural metaphors, they defend their vernacular against charges of vulgar barbarism and promote the civilizing potential of English verse. Yet if lyric poets also turn to architectural metaphors to make claims about poetry’s enduring quality, they simultaneously disclose a deep unease about the perils of textual transmission. Indeed, monumentalizing conceits often appear most powerfully in poetic genres predicated on failed hopes and frustrated desires, that is, in the sonnet sequences and complaints of Edmund Spenser, Samuel Daniel, and William Shakespeare. In acknowledging the fragility of the textual and architectural remains of antiquity, lyric poets from Spenser forward consider their own textual futures with an entirely new sense of urgency. I argue, however, that their unease about the future of their art has as much to do with the genres in which they write and their suspicions about the shifting reading practices of future audiences as it does with the material vulnerability of the medium that transmits that art. In the sonnet sequence in particular, lyric poets who monumentalize their beloved partake in—and anxiously question—early modern practices of constructing funeral monuments for the living. I argue that these poets’ fantasy of entombing those who are still in the prime of their lives turns out to be less about a future rebirth than an obsessive, premature preparation for death. / text

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These photos are provided in order to more fully illustrate and explain the Zion and Pipe Spring technical report.

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