Comoumsótrabalho - sobre os projetos de escala geográfica de Nelson Felix investiga um conjunto específico de obras do artista, precisamente aquelas cuja construção envolve deslocamentos geográficos extremos, uma experiência dilatada de temporalidade e a premissa do entrelaçamento contínuo entre os trabalhos. Marcada pelo rigor construtivo e por uma série de determinações simbólicas, a produção de Felix recorre a formas orgânicas, a ciclos planetários, à música, à poesia escrita, em um jogo de equivalências e rebatimentos que se manifesta em uma forma constelar, simultaneamente atenta e insubordinada aos paradigmas estéticos contemporâneos. Assim, partindo de reflexões que problematizam a relação ambivalente da obra de Nelson Felix com a tradição da escultura a pesquisa encontra, nos processos de construção dos projetos do artista, os conceitos que irão nortear a discussão em pauta. Essas reflexões se atêm, basicamente, à contiguidade entre os trabalhos, à temporalidade supra-humana a que são submetidos e à monumental invisibilidade da obra. / Comoumsótrabalho (Asasinglejob) - about the geographic scale works of Nelson Felix - investigates a specific set of works by the artist, precisely those whose construction involves extreme geographic dislocation, a dilated temporal experience and the premise of continuous interconnection between all of the artist\'s works. Marked by the constructive rigor and by a series of symbolic determinations, Felix\'s production turns to organic forms, planetary cycles, music and written poetry, in a game of equivalences and reverberation that presents itself in a stellar way, simultaneously aware of and unsubordinated to the contemporary aesthetic paradigms. Thus, starting from reflections that problematize the ambivalent relations between the work of Nelson Felix and the tradition of sculpture, the research finds, in the processes of construction of projects by the artist, the concepts that will guide this discussion. These reflexes basically rely on continuation of works, on the super-human temporality to which they are submitted and on the monumental invisibility of the work.

Com o final da Idade do Bronze na Grécia Continental se tornou possível vislumbrar uma série de mudanças que afetaram o modo de vida de toda sociedade grega. Neste trabalho pretendemos estudar como as formas arquitetônicas registraram essas mudanças e quais interpretações são possíveis de serem formuladas a partir do registro arqueológico e análises das fontes textuais. Será dado destaque aos sentidos da monumentalidade em edificações de usufruto coletivo. O momento em questão abrange os séculos XII - VIII e as estruturas estudadas serão as Casas de Chefe com particular ênfase na função que possuíam, sua arquitetura e de que maneira sucederam os palácios da época Micênica. / With the end of the Bronze Age Continental Greece became possible to envisage a series of changes that have affected the way of life of the entire Greek society. In this paper we intend to study how architectural forms recorded these changes and interpretations which are possible to be made from the archaeological record and analysis of the textual sources. Emphasis will be placed to the senses of the monumentality in buildings of collective usufruct. The moment in question covers the centuries XII - VIII and the studied structures will be the Rulers\' Dwellings with particular emphasis on the function that had, its architecture and how succeeded the palaces of the Mycenaean era.

Contemporary architecture suffers from an acute malaise: it has lost its sense of meaning, and in turn, its sense of significance. In our world of economy and utility—the liquid world—architecture can only allude to a higher purpose, a feigned declaration of its inability to contend with the current state. Yet this was not always the case. For thousands of years everything from the minutest of details to the greatest of narratives found their expression in architecture, and specifically, in a culture’s understanding and application of monumentality. The monument embodied the spirit of its times, and in its near-immortality provided a refuge for the loftiest of hopes and dreams. While it may appear that words like immortality and spirit are at odds with the ceaseless and constant change of the globalized world, change is not a new concept of our era. Since the beginning of history monumental architecture tempered its solidity with an implicit appreciation for the transience it sought to overcome. Liquid Monumentality reconstructs this dialectic of permanence and change in an attempt to answer one question: is the monumental still relevant in our liquid age?

This thesis on one of the most significant productions of the Early Republican Period, reveals the values of the urban park / namely Gen&ccedil / lik Parki, and analyzes its disintegration process with changing decades and conditions. There are several discourses, which are practiced in Gen&ccedil / lik Parki, are found valuable / therefore, it is considered to be preserved. These discourses may be considered as / Gen&ccedil / lik Parki consists the values of the Republican Period, it is the urban space for the cultural formation of the society, it is the historical stage for the social and historic events in Ankara, it is one of the green zones within the growing city. On the other hand, the architectural, namely the objective values of the park are not considered within these discourses. In this sense, the main concern of the thesis will be to read the drastic change in the treatment of the values of Gen&ccedil / lik Parki after its foundation through successive decades of different administration and usage to the current situation. The values pertaining to the modern monument will be envisaged in the terminology of Alois Riegl, who has put forth his views in the late 19th century. In other words, our concern is to examine the urban artifact which is one of the most significant productions of the Republican Period, and to explore the values, and analyze its disintegration process with changing decades and conditions. Moreover, this thesis searches an answer to the question, Do we really know Gen&ccedil / lik Parki?

Contemporary architecture suffers from an acute malaise: it has lost its sense of meaning, and in turn, its sense of significance. In our world of economy and utility—the liquid world—architecture can only allude to a higher purpose, a feigned declaration of its inability to contend with the current state. Yet this was not always the case. For thousands of years everything from the minutest of details to the greatest of narratives found their expression in architecture, and specifically, in a culture’s understanding and application of monumentality. The monument embodied the spirit of its times, and in its near-immortality provided a refuge for the loftiest of hopes and dreams. While it may appear that words like immortality and spirit are at odds with the ceaseless and constant change of the globalized world, change is not a new concept of our era. Since the beginning of history monumental architecture tempered its solidity with an implicit appreciation for the transience it sought to overcome. Liquid Monumentality reconstructs this dialectic of permanence and change in an attempt to answer one question: is the monumental still relevant in our liquid age?

&ldquo / New monumentality&rdquo / is a term which was first introduced to architectural discourse by Sigfried Giedion, Jose Luis Sert, and Fernand L&eacute / ger right after the post-World War II in the early forties. The effect of the term comes from the polemical power of reformulation of the accustomed category &ldquo / monument&rdquo / within the field of the modern architecture. In this way, as it is shaped by the three authors, for the first time &ldquo / New Monumentality&rdquo / had been identified as a modern task under the name of Nine Points on Monumentality in 1943. Therefore, this thesis is mainly grounded on this significant text that is a primary manifestation of the need for the new monumentality. On these bases, that the manifesto is stressed an effort to determine the ethics of the post war modern architecture regarding: historicism, functionalism, and representation. This thesis seeks to clarify the self-critical frame which is unfolded by the manifesto within the context of the modern architecture. Thus, the first one of the three objectives of this thesis is to clarify the concept of new monumentality / the second one is to locate its position in the history of modern architecture / and the third one is to differentiate proposed and unintended outcomes of this movement within the contemporary discourses of architecture.

L'architecture officielle nationale-socialiste adopte dès 1934, par sa monumentalité, une allure qui la distingue en tant que telle de tout ce qui s'est fait auparavant. L'analyse des caractéristiques et des sources de cette architecture est le thème principal de cette thèse. P. L. Troost dessine les premiers édifices du Parti à Munich; Ernst Sagebiel est l'architecte de l'aéroport de Tempelhof et du ministère de Göring à Berlin; Hans Reissinger imagine à Bayreuth un édifice à l'enveloppe composite pour l'association des enseignants du Reich; Ludwig et F. Ruff dessinent un hall gigantesque destiné aux congrès du parti à Nuremberg. Leurs œuvres présentent des formes de monumentalité très éloignées de la seule référence à un néoclassicisme simplifié. Leurs édifices, marqués par une grande exigence de représentation, répondent néanmoins, avec beaucoup d'efficacité pour certains d'entre eux, à la fonction à laquelle ils sont destinés. L'étude de ces édifices s'attache à observer l'évolution des esquisses et des maquettes dans le sens d'une monumentalité toujours plus grande, l'effet recherché l'emportant sur toute autre considération. Une iconographie sculptée à la gloire Reich et du Parti, en ses emblèmes et ses bas-reliefs, complète cette mise en scène. La notion de tectonique germanique privilégiée par les historiens de ce régime pour exprimer l'essence de l'architecture dans sa recherche de formes originelles est soigneusement examinée. Les racines dont elle se prévaut font appel à une Allemagne mythique entièrement recréée et berceau de l'univers. L'examen des édifices retenus est donc tout d'abord une analyse architecturale, complétée par la prise en compte de l'important appareil éditorial qui en a assuré la présentation officielle pendant le Reich. En contrepoint, il a été tenu compte des nombreuses publications que cette architecture a suscitées en Allemagne depuis les années 1970. / As early as 1934, the official National-Socialist architecture takes a stand which sets it apart from ail things past, bringing out the very peculiar monumentality of the period. Analyzing the characteristics and the sources of this state architecture during the early years of the Third Reich, constitutes the main theme of the present thesis. P.L. Troost, who designed the first buildings of the Party in Munich, Ernst Sagebiel, author of the Tempelhof Airport and Göring's Ministry in Berlin, Hans Reissinger who designed a building with a composite envelop meant for the Reich teachers' Association in Bayreuth, and finally Ludwig and F. Ruff who designed a gigantic hall to accommodate the Party's conventions in Nuremberg, are the architects who se works are being reviewed. Their buildings present monumental forms which are quite remote from simplistic neo-classical references. These works are marked by great representational demands and yet, in some cases, they also respond to functionality in a highly efficient way. This study of the chosen buildings attempts to observe, from the moment of conception through the evolution of sketches and models, an ever-increasing monumentality: the establishment of a mode of composition favoring organizing symmetries of plans and elevations and the final embellishment of the facades with added-on elements, the reached-for effect being always more important than any other consideration. A sculptured iconography glorifying the regime and the Reich, with its signs, symbols and freezes, completes this setting. The concept of a German tectonic, so privileged by historians of the regime, expressing the essence of this official architecture in its search for original forms, is therefore examined in detail, revealing the roots it refers to: at its center is a newly-recreated mythical Germany as cradle of the universe. The analysis of the chosen buildings is thus first architectural, then completed by examining the editorial apparatus which has ensured its official presentation during the Third Reich. On the other hand, the numerous publications spurred by this architecture in Germany since the 1970's, have also been taken into account.

De nos jours, parler de monumentalité soulève des questions pour le moins problématiques. Selon des interprétations négatives, cette notion est fruit d’une pensée rétrograde, fondée sur l’historicisme et sur une lecture de l’architecture comme une question de style. A contrario, la monumentalité représente, à l’origine, la qualité immatérielle qui permet au monument d’émerger de son contexte et d’être reconnu comme élément structurant de l’espace urbain. Cette qualité joue un rôle capital au sein de la métropole puisqu’elle s’oppose à une logique de l’architecture basée sur l’économie et qu’elle éveille la conscience collective à la fonction mémorielle du monument et à sa symbolique d’avertissement pour la société. La consultation internationale du Grand Paris (CIGP) a été une vitrine internationale considérable qui a donné aux équipes pluridisciplinaires participantes la possibilité de définir les paramètres fondateurs pour le développement de la métropole du XXIème siècle de l’après-Kyoto. À la demande des décideurs politiques, les équipes de la CIGP ont engagé un questionnement sur la manière de matérialiser les symboles fédérateurs de la société contemporaine. S’agirait-il d’un renouveau de la monumentalité ? Comment faire coexister ce questionnement face aux principes du développement durable ? Serions-nous confrontés à une nouvelle forme de monumentalité émergente ? Cette recherche a l’ambition de présenter la récursivité de l’histoire transformant la notion de monumentalité et d’apporter quelques éléments de réponse concernant la possible émergence d’une nouvelle monumentalité métropolitaine / Talking about monumentality in contemporary times has become at least a problematic issue. This notion most often refers to negative interpretations identifying it as the fruit of retrograde thinking, based on historicism and in reading architecture as a question of style. On the contrary, monumentality originally represents the immaterial quality that allows the monument to stand up from its context and to be recognized as a structuring element of the urban. Faced with the metropolis, this quality plays a capital role by opposing the logic of architecture based on economics and by awakening the collective conscience to the monument’s memorial function and its symbolic warning for society. The Greater Paris International Consultation (CIGP) was a considerable international showcase that gave to its multidisciplinary teams the opportunity to define the founding parameters for the development of post-Kyoto metropolis for the 21st century. As asked by politicians, the CIGP teams started to question how to materialise the unifying symbols of contemporary society. Would it be a renewal of monumentality? How can this questioning coexist facing the principles of sustainability? Would we be faced to a new form of emergent monumentality? The aim of this research is to present the historical appeals that have transformed the notion of monumentality and to provide some answers regarding the possible emergence of a new metropolitan monumentality

Comoumsótrabalho - sobre os projetos de escala geográfica de Nelson Felix investiga um conjunto específico de obras do artista, precisamente aquelas cuja construção envolve deslocamentos geográficos extremos, uma experiência dilatada de temporalidade e a premissa do entrelaçamento contínuo entre os trabalhos. Marcada pelo rigor construtivo e por uma série de determinações simbólicas, a produção de Felix recorre a formas orgânicas, a ciclos planetários, à música, à poesia escrita, em um jogo de equivalências e rebatimentos que se manifesta em uma forma constelar, simultaneamente atenta e insubordinada aos paradigmas estéticos contemporâneos. Assim, partindo de reflexões que problematizam a relação ambivalente da obra de Nelson Felix com a tradição da escultura a pesquisa encontra, nos processos de construção dos projetos do artista, os conceitos que irão nortear a discussão em pauta. Essas reflexões se atêm, basicamente, à contiguidade entre os trabalhos, à temporalidade supra-humana a que são submetidos e à monumental invisibilidade da obra. / Comoumsótrabalho (Asasinglejob) - about the geographic scale works of Nelson Felix - investigates a specific set of works by the artist, precisely those whose construction involves extreme geographic dislocation, a dilated temporal experience and the premise of continuous interconnection between all of the artist\'s works. Marked by the constructive rigor and by a series of symbolic determinations, Felix\'s production turns to organic forms, planetary cycles, music and written poetry, in a game of equivalences and reverberation that presents itself in a stellar way, simultaneously aware of and unsubordinated to the contemporary aesthetic paradigms. Thus, starting from reflections that problematize the ambivalent relations between the work of Nelson Felix and the tradition of sculpture, the research finds, in the processes of construction of projects by the artist, the concepts that will guide this discussion. These reflexes basically rely on continuation of works, on the super-human temporality to which they are submitted and on the monumental invisibility of the work.

Places of ritual encounter have been significant in South American Andean cultures for millennia. In this paper I examine the highland Andean center of Tiwanaku as a place of ritual encounter, focusing on changes in its built ceremonial structures and monuments from the Late Formative (200 BC-AD 500) to the Early Middle Horizon (AD 500-800). Specifically, I focus on changes in the total physical contexts of its sunken courts. Drawing on very recent research on the Late Formative, I conclude that Tiwanaku’s ascendance in the Middle Horizon was in great part its transformation from a local ritual-political center to a panregional urban ceremonial center. This transformation recursively depended on and produced new places of encounter and new types of ritual persons to maintain and visit them. / Durante milenios, los lugares de encuentros rituales han sido muy importantes en las culturas andinas de América del Sur. En el presente artículo se analiza el centro altiplánico de Tiwanaku como un lugar de encuentro ritual, con un énfasis en los cambios constructivos de los monumentos y estructuras ceremoniales desde el Periodo Formativo Tardío (200 a.C.-500 d.C.) hasta el Horizonte Medio Temprano (500-800 d.C.). De manera específica, se tratan los cambios de la totalidad de los contextos físicos en los patios hundidos. Sobre la base de investigaciones recientes, se concluye que la ascendencia tiwanaku durante el Horizonte Medio se debió, en gran parte, por su transformación de centro político-ritual local en uno de carácter ceremonial urbano y panregional. Esta transformación produjo y dependió de nuevos lugares de encuentro y de nuevos tipos de personajes rituales para mantenerlos y visitarlos.