This dissertation is a study of the links between the poem Signos que aparecerán antes del juicio final of Gonzalo de Berceo and the Spanish medieval architecture. The analysis is based on a comparative and systematic contrast between the literary work of Berceo and the monumental sculptures present in three cathedrals that represent the Spanish medieval architecture. The iconographies found in the portals of these cathedrals have thematic and symbolic similarities with the poem of Gonzalo de Berceo. / Spanish

Through this thesis I explore how a train station can serve as the platform for an experience that is more profound than simply coming and going, and instead can provide a moment that allows travelers to appreciate the location that they are traveling to or from. A train station is almost uniquely positioned to serve as the first or last building any train traveler encounters in a city, serving as the gateway to the modern city. This presents an opportunity where the station itself will have a direct influence on a traveler's initial or final experience of the city. And so, I propose a station that, through its architecture and relationship to the site, provides the traveler a space where they can stop, look, and take in the view of the city from which they are about to depart or at which they are just now arriving. It allows those new to the city to get an understanding of the basic urban layout and its relationship to its surroundings. It becomes a destination in itself, that allows the local population to regain knowledge of their city and to reinterpret what they already know about their home. / Master of Architecture

The most recent investigations at the site of Sechín Bajo in the Casma valley resulted in the discovery of a sequence of three buildings dating from the Late Archaic to the Early Formative Periods, evidencing phases that span more than 2000 years (3500-1500 BC). The First Building comprised a simple platform that underwent numerous extensions, each phase of which received a circular sunken plaza. It was subsequently backfilled and sealed with a clay floor before the Second Building was constructed above it, expressing a change, both in its function and the way it was used. The Third Building represents the most monumental phase, demonstrating a pronounced division between a public area and another zone to which access was unmistakably restricted. In its public areas, the building’s surface was extensively decorated with clay reliefs, exhibiting a complex iconography. The abandonment of the structure, between 1500 and 1300 BP, involved either the destruction or walling-up of the flights of steps that granted access to it. On an external wall of the Second Building, c. 130 graffiti were inscribed. / Las investigaciones en el sitio arqueológico de Sechín Bajo, valle de Casma, han continuado y se ha registrado una secuencia de tres edificios correspondientes al Arcaico Tardío y Formativo Temprano, lo que representa una historia constructiva de 2000 años (3500 a 1500 a.C.). El Primer Edificio, el más antiguo, está compuesto por una plataforma rectangular que sufrió varias ampliaciones, siempre asociadas a plazas circulares hundidas. El Primer Edificio fue enterrado y sellado para levantar encima el Segundo Edificio, que tiene dos grandes fases constructivas. Posteriormente, se erigió el Tercer Edificio, que corresponde a una estructura de tamaño monumental, con cambios en los conceptos de uso y función, y modificaciones en su construcción. El Tercer Edificio tiene áreas de carácter público, con muros que presentan relieves relacionados con un corpus iconográfico bastante complejo, entre cuyos diseños sobresale el personaje denominado El Degollador, mientras que en los espacios privados los muros tienen hornacinas y los ingresos son restringidos. El decaimiento de Sechín Bajo, durante el Formativo Temprano, se puede reconocer en una pared exterior del Segundo Edificio —decorada con 130 grafitis realizados con una técnica muy simple—, en la destrucción de las escaleras principales y el sello de los accesos. Con estos nuevos datos, se pueden evaluar mejor las características de la arquitectura monumental-ceremonial en el valle de Casma desde el Arcaico Tardío al Formativo Temprano.

La Provincia Constitucional del Callao alberga el puerto más importante del Perú, el cuál ha ido convirtiendo la Zona Monumental del Callao en un polo industrial que ha dejado de lado el valor histórico y cultural de la ciudad portuaria. El Centro Cultural busca revalorizar la zona con una propuesta urbano – paisajista que conecta la ciudad con el mar por medio de un proyecto de carácter cultural- recreativo cuyo diseño toma de partida la flexibilidad espacial como estrategia principal para el desarrollo del programa. La propuesta parte de un eje central como espacio articulador, que conecta con todas las actividades programáticas duras del centro convirtiendo las circulaciones, en espacios de jerarquía que pasan de ser espacios de tránsito a espacios abiertos de permanencia que generan actividades de ocio, cultura y arte las cuales varían dependiendo del programa en el que se las inserte. / Callao Constitutional Province houses the most important port in Peru, which has been turning Callao´s Monumental Zone into an industrial hub that has neglected the historical and cultural value of the city. Callao´s Cultural Centre seeks to revalue the area with an urbanistic landscape proposal that connects the city with the sea; through a cultural and recreational project whose design takes spatial flexibility as the main strategy for the development of the program. The proposal is based on a central axis that works as an articulating space, which connects with all the hard-programmatic activities of the center, turning the circulations into hierarchy spaces that transforms from transit spaces into open spaces for permanence that promotes leisure, cultural and art activities which can vary depending on the program in which they are inserted into. / Tesis

Cette thèse a pour objet l’étude du secteur de l’hippodrome romain du site archéologique d’el-Bass à Tyr (Liban sud). Six monuments et structures archéologiques sont concernés : la route antique, l’arc monumental, l’aqueduc, l’hippodrome et les deux bains de factions qui lui sont associés. Une description détaillée du site et de son cadre archéologique, géographique et historique sera suivie d’une étude approfondie de chacun des monuments. Cette étude couvrira leurs divers aspects archéologiques, architecturaux, typologiques ainsi que les divers remaniements qu’ils subirent. L’ensemble sera accompagné de plusieurs approches comparatives avec des monuments contemporains similaires. Cette étude sera complétée par une analyse urbaine du site, qui traitera de la disposition des monuments les uns par rapport aux autres ainsi que par une étude chronologique qui présentera les diverses phases de son évolution, son développement et son abandon. / This thesis has for object the survey of the sector of the Roman hippodrome of the archaeological site of el-Bass in Tyre (South Lebanon). Six monuments and archaeological structures are concerned: the ancient road, the monumental arch, the aqueduct, the hippodrome and the two faction baths that are associated to it. A detailed description of the site and its archaeological, geographical and historic setting will be followed by a deepened survey of each of the monuments. This survey will cover their various archaeological, architectural, typological aspects as well as the various overhauls that they underwent. The whole will be accompanied by several comparative approaches with similar contemporary monuments. This survey will be completed by an urban analysis of the site, which will be about the disposition of the monuments as well as by a chronological survey that will present the various phases of its evolution, its development and its abandonment.

Jessica Langley's work examines animals and nature through various media and form, including watercolor and oil painting, digitally manipulated photography, both large and small scale drawing, and various combinations of each. The work has explored narrative and emotional aspects to more mystical and ecological interpretations. The current body of work settles into banal and familiar interactions with animals, or more specifically the house cat and its accoutrements. Each element of the body of work engages specific concepts that developed out of the American landscape tradition and assimilates the banal subjects into a formal framework. The subjects are monumentalized and romanticized in order to question, not the importance of the objects, but the relevance of the sublime.

Orientador: Clice de Toledo Sanjar Mazzilli / Resumo: O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por "não-arquitetos". Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista. / Abstract: The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by "non-architets" This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist. / Mestre

Early Monumental Architecture in the Middle Fortaleza ValleySurface surveys in 1993 led to the location of some 30 monumental sites of the Formative Period in the Middle Fortaleza Valley. The authors present a typology of the architecture, a chronological and corological scheme based on comparisons with other sites to the north and south, distribution patterns, settlement patterns and the relationship of agricultural potential of surrounding lands as well as functional and social relevance of the buildings through formative times. / Prospecciones llevadas a cabo en 1993 permitieron la ubicación de unos 30 sitios monumentales del Periodo Formativo en la parte media del valle de Fortaleza. Los autores proponen una tipología de la arquitectura, una cronología y corología basadas en comparaciones con sitios al norte y al sur, un patrón de distribución y su relación con la tierra cultivable así como las posibles funciones y la importancia social de estos sitios en el curso del Periodo Formativo.

La production monumentale du peintre français George Desvallières (1861-1950) a été longtemps méconnue, comme en témoigne l’absence jusqu’à présent d’une recension exhaustive. Il s’imposait de réaliser un véritable catalogue et surtout de mettre les thèmes de ses œuvres monumentales et décoratives en regard avec la vie de l’artiste et le contexte historique, artistique et religieux de l’époque. Dès les années 1890, Desvallières se confronte au monumental à travers des panneaux décoratifs dont l’iconographie se limite jusqu’en 1914 à des thèmes profanes. Sa production prend une tout autre ampleur après la Grande Guerre. La mort au combat de son fils, en 1915, et le vœu qu’il a fait dans les tranchées, en 1916, de se consacrer entièrement à la peinture religieuse sont les marqueurs historiques et iconographiques de la seconde partie de sa carrière. Les années 1918-1950 seront celles de ses plus grandes réalisations dans le domaine monumental : fresque, peinture marouflée, cartons de vitraux et de tapisserie, ex-voto monumentaux sont autant de supports qu’il exploite pour peindre une mystique de la Grande Guerre où le Poilu et l’infirmière côtoient les grandes figures religieuses. La création avec Maurice Denis des Ateliers d’Art sacré en 1919 témoigne du rôle important assigné par ces deux artistes aux arts décoratifs, dont Desvallières favorise le développement au Salon d’Automne qu’il préside dès 1935, mais aussi dans des jurys et des expositions en France comme à l’étranger. L’étude des grands ensembles décoratifs de l’artiste complète utilement les recherches menées sur l’art décoratif de la première moitié du XXe siècle et contribuent au war studies en vue du centenaire de la Grande Guerre. / The monumental production by the French painter George Desvallières (1861-1950) has long been misunderstood, as shown by the absence so far of a comprehensive review. Therefore, not only the compilation of a real catalogue became inevitable and necessary, but above all putting the artist’s monumental and decorative works into the context of his and the historical, artistic and religious events of his time. By the 1890s, Desvallières turned to monumental decorative panels with an iconography that was until 1914 limited to secular themes. His production takes a very different scale after the Great War. His son’s death in battle, in 1915, and the vow the artist took in the trenches in 1916 to devote himself exclusively to religious paintings are historical and iconographic markers of the second part of his career. The years 1918-1950 will be those of his greatest achievements in monumental works: fresco paintings, marouflages, stained glass and tapestries, as well as monumental votive offerings are all media he is exploiting to paint a mysticism of the Great War where the Poilu , the French soldier, and the nurse are jointly depicted with great religious figures. The creation with Maurice Denis of the Ateliers d’Art sacré , the Sacred Art Workshops in 1919, demonstrates the important role the two artists assigned to the decorative arts. Desvallières promotes its development at the Salon d'Automne , which he presides from 1935 onwards, as well in juries and exhibitions in France and abroad. The study of large decorative ensembles of the artist is a valuable addition to the research on decorative arts of the first half of the Twentieth Century and contributes to the First World War Studies as we are approaching the upcoming centennial anniversary.

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