Inaug.-Diss.--Berlin. / Bibliography: p. 139-147.

Esta dissertação tem como objetivo revelar a importância da arquitetura dos Pavilhões Brasileiros participantes das exposições internacionais. Esses eventos representaram um valioso campo de provas da arquitetura moderna, servindo de laboratório para novos conceitos e possibilidades. No caso brasileiro, alguns exemplares contribuíram para o desenvolvimento de um processo de afirmação de identidade nacional e de reconhecimento de uma arquitetura brasileira distinta. O surgimento das exposições internacionais promoveu profundas transformações sociais, culturais e tecnológicas, gerando reflexos imediatos na arquitetura mundial. O agrupamento de todos os Pavilhões Brasileiros num único trabalho possibilita uma análise do desenvolvimento da arquitetura nacional, fundamentada no contexto brasileiro e internacional. Os pavilhões mais representativos são destacados e os reflexos que tais obras geraram no âmbito da arquitetura nacional e internacional são analisados. / This research aims to reveal the importance of the architecture of Brazilians Pavilions in the international expositions. These events represented a valuable testing ground of modern architecture, serving as a laboratory for new concepts and possibilities. In the Brazilian case, some buildings contributed to the development process of national identity affirmation and recognition of a distinct Brazilian architecture. The rise of international expositions generated profound social, cultural and technological transformations, leading direct impact on the world architecture. The grouping of all the Brazilians Pavilions in a single study allows an analysis of the development of national architecture, based on the national e international context. The most representative buildings are highlighted and the impact that these works created within the national and international architecture are analyzed.

The pavilion structure has been an integral part of Persianate gardens since its earliest appearance at the Achaemenid garden in Pasargadae (sixth century BC). Despite its significance, the scholarly focus on the study of gardens has somewhat sidelined the study of the pavilions and even neglected the cultural context of the development of the pavilions. The pavilion as a theme appears after the maturation of the concept of paradise as a garden in Near Eastern mythological and religious texts. The Quran is the first known text that integrated the two concepts of pavilion and garden in the imaginary paradise. Later, Persian poetry defines specific relationships between human beings, pavilions, and gardens while stressing the psychological and material values of pavilions and gardens. Three types of resources were consulted to reconstruct the image of pavilion: literary documents (including mythology and poetry), different types of art (ranging from painting to carpets), and historical accounts. Referring to these allows us to explore the diversity of the pavilion's image in each medium and its degree of correspondence to reality. This dissertation explores the diversity of the pavilion (tent, kiosk, or building), its spatial, formal, and functional relationship with gardens as a flexible entity, and its cultural use. The historical accounts discussed in this dissertation prove the existence of buildings in gardens, the common use of tents as temporary residences, gender specificity of pavilions, and the multi-functionality of gardens for encampments, administrative affairs, and pilgrimages. The pavilion as building is well documented in both visual and literary media. While poetry draws a clear boundary between the garden and building as separate entities, painting merges or separates the building and garden (as courtyard or planted area) physically, formally, and symbolically. The building in poetry is usually associated with the materialistic world, whereas the garden is often associated with the ideal world. This is, to some extent, visible in paintings in which the geometrical design of the building and the courtyard acts as a reference to the material world. The frequent reference to iwan as a consistent design element in painting and travelers' accounts proves its significance as an intermediate space between inside and outside the pavilion as a building. Tents in gardens appear less frequently in poetry and painting than they do in textual sources. On the other hand, historical documents rarely point to kiosks or semi-open spaces in gardens, whereas kiosks are widely developed in paintings. The examination of paintings also reveals formal and functional similarities between the throne and kiosk. The kiosk appears in close physical and visual contact with natural components of gardens, and even serves as a connector between the garden and building. The pavilion as a kiosk is, however, to a large extent absent in poetry and historical documents probably due to the dominant interest in buildings. This research proves the dominant cultural view on the functional flexibility of Persianate gardens between the 14th and 18th centuries in using pavilion structures varying in form, function, and scale.

Esta dissertação tem como objetivo revelar a importância da arquitetura dos Pavilhões Brasileiros participantes das exposições internacionais. Esses eventos representaram um valioso campo de provas da arquitetura moderna, servindo de laboratório para novos conceitos e possibilidades. No caso brasileiro, alguns exemplares contribuíram para o desenvolvimento de um processo de afirmação de identidade nacional e de reconhecimento de uma arquitetura brasileira distinta. O surgimento das exposições internacionais promoveu profundas transformações sociais, culturais e tecnológicas, gerando reflexos imediatos na arquitetura mundial. O agrupamento de todos os Pavilhões Brasileiros num único trabalho possibilita uma análise do desenvolvimento da arquitetura nacional, fundamentada no contexto brasileiro e internacional. Os pavilhões mais representativos são destacados e os reflexos que tais obras geraram no âmbito da arquitetura nacional e internacional são analisados. / This research aims to reveal the importance of the architecture of Brazilians Pavilions in the international expositions. These events represented a valuable testing ground of modern architecture, serving as a laboratory for new concepts and possibilities. In the Brazilian case, some buildings contributed to the development process of national identity affirmation and recognition of a distinct Brazilian architecture. The rise of international expositions generated profound social, cultural and technological transformations, leading direct impact on the world architecture. The grouping of all the Brazilians Pavilions in a single study allows an analysis of the development of national architecture, based on the national e international context. The most representative buildings are highlighted and the impact that these works created within the national and international architecture are analyzed.

Li Sheng Yan Steven. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report." / Includes bibliographical references. / Chapter 01 --- memory... / congested & weakening land / Chapter 02 --- inspiration … / flooded & sinking land / Chapter 03 --- questions... / (AQUA)tecture / Chapter 04 --- vision 01 / Chapter 05 --- vision 02 / Chapter 06 --- Water is the site / Chapter 07 --- ships / submarines / Chapter 08 --- sea-lives / swimmers & floaters / Chapter 09 --- test-beds / Chapter 10 --- hoi ha wan / Chapter 11 --- design process / experiences and experiments / Chapter 12 --- program / Chapter 13 --- water pavilion / Chapter 14 --- research cell / Chapter 15 --- experiment on wave-mapping structure / Chapter 16 --- Exoeriment on moving / Chapter 17 --- experiment on stability / Chapter 18 --- floating technology / Chapter 19 --- marine sens/t/ation / Chapter 20 --- bibliography

O Parque Ibirapuera é o primeiro parque metropolitano da cidade. Foi concebido como um espaço moderno, destinado ao cultivo do lazer e da cultura da população urbana. Projetado para as comemorações do IV Centenário de fundação de São Paulo, sua história envolveu oposições que foram, até o presente momento, silenciadas. A perspectiva deste trabalho desloca o enfoque do eixo comemorativo, para fazer emergirem os conflitos de posição, sobretudo quanto ao programa do parque. Na época de sua implantação, na década de 50, a construção dos pavilhões do Ibirapuera foi amplamente questionada por um grupo de urbanistas, jornalistas e intelectuais que previam para a área um parque exclusivamente verde. No entanto, os conflitos em torno dessa questão não foram discutidos pela ampla bibliografia já produzida a respeito do parque. Tais conflitos indicam que se delineava um campo de disputas entre os grupos sociais que atuavam na decisão de como o parque deveria configurar-se. / Parque Ibirapuera was the first metropolitan park in São Paulo. It was conceived as a modern space, destined to offer leisure and culture to the population. The park was projected to be part of São Paulo´s 4th Centenary celebrations, but its story involves oppositions that have been omitted in further debate. This work displaces the usual focus on the commemorative axle, in order to highlight the conflicts involved in the creation of the park – mainly related to its program. By the time of Ibirapuera´s implantation, in the 50´s, the construction of its pavilions was widely questioned by a group of urban planners, journalists and intellectuals who wanted an exclusively green park for that area. Nevertheless, this debate has never been discussed by the large bibliography already produced about the park, even though those conflicts seems to outpoint a battlefield between the social groups that acted in the decisions of the park´s configuration.

Este trabalho tem como objetivo a análise de uma tipologia - os pavilhões, dentro de um caso singular que são os Pavilhões de Verão da Galeria Serpentine em Londres. Para se entender tanto a tipologia como o próprio programa desenvolvido em Londres, essa pesquisa se valeu de levantamento bibliográfico sobre o tema e sobre os projetos da Serpentine, assim como visita a um dos pavilhões e a obras do arquiteto desse projeto, o chileno Smiljan Radíc. Como ponto de partida foi usado como referência o autor Moisés Puente e o livro \"100 anos de pavilhões de exposição\", e na sequência, publicações sobre história da arquitetura e monografias sobre alguns arquitetos. Sobre a Galeria Serpentine, a pesquisa teve início com a publicação comemorativa aos dez anos do evento: \"Serpentine Gallery Pavilions\", do autor Philip Jodidio, assim como publicações sobre cada pavilhão. Por fim, foram levantadas as publicações monográficas sobre o arquiteto Smiljan Radíc, assim como sobre o pavilhão de 2014. Com isso, foi possível traçar um panorama sobre esses edifícios na história, e também reconhecer algumas das obras emblemáticas para a disciplina da arquitetura, e a partir daí, analisar as propostas que vem sendo desenvolvidas desde o ano 2000 por essa galeria de arte. Dessa forma, o pavilhão visitado em 2014 é apresentado juntamente com a obra do seu autor em uma investigação sobre o campo ensaístico desse arquiteto, campo esse também verificado na análise de alguns dos pavilhões mais significativos da história. / This paper aims to provide analysis of a typology - the pavilions, more specifically the case of the Serpentine Gallery Summer Pavilions in London. In favor of comprehending the typology as well as the developed program in London, this research was based on a selected bibliographical survey on the subject-matter and other Serpentine Gallery projects, additionally to a visit to one of the pavilions and other works by the same architect, the Chilean Smiljan Radíc. It has been used, as starting point, the reference of the author Moisés Puente and his book \"100 anos de pavilhões de exposição\", subsequent to publications on architecture history and monographs by other architects. Regarding the Serpentine Gallery, the research began with the 10-year commemorative publication of the event: \"Serpentine Gallery Pavilions\", from author Philip Jodidio, along with other publications about each pavilion. Lastly, monograph publications were gathered on the architect Smiljan Radíc, as well as on the 2014 pavilion. Therefore, it was possible to draw a panorama on these buildings throughout history, likewise some of its emblematic works for the discipline of architecture, and ther after, analyse the propositions that have been made by this gallery since the 2000s. As a result, the pavilion visited in 2014 is presented along with the author\'s work in an examination of the rehearsal field of the architect, the same field is further analysed in some of the most significant pavilions in history.

Este trabalho tem como objetivo a análise de uma tipologia - os pavilhões, dentro de um caso singular que são os Pavilhões de Verão da Galeria Serpentine em Londres. Para se entender tanto a tipologia como o próprio programa desenvolvido em Londres, essa pesquisa se valeu de levantamento bibliográfico sobre o tema e sobre os projetos da Serpentine, assim como visita a um dos pavilhões e a obras do arquiteto desse projeto, o chileno Smiljan Radíc. Como ponto de partida foi usado como referência o autor Moisés Puente e o livro \"100 anos de pavilhões de exposição\", e na sequência, publicações sobre história da arquitetura e monografias sobre alguns arquitetos. Sobre a Galeria Serpentine, a pesquisa teve início com a publicação comemorativa aos dez anos do evento: \"Serpentine Gallery Pavilions\", do autor Philip Jodidio, assim como publicações sobre cada pavilhão. Por fim, foram levantadas as publicações monográficas sobre o arquiteto Smiljan Radíc, assim como sobre o pavilhão de 2014. Com isso, foi possível traçar um panorama sobre esses edifícios na história, e também reconhecer algumas das obras emblemáticas para a disciplina da arquitetura, e a partir daí, analisar as propostas que vem sendo desenvolvidas desde o ano 2000 por essa galeria de arte. Dessa forma, o pavilhão visitado em 2014 é apresentado juntamente com a obra do seu autor em uma investigação sobre o campo ensaístico desse arquiteto, campo esse também verificado na análise de alguns dos pavilhões mais significativos da história. / This paper aims to provide analysis of a typology - the pavilions, more specifically the case of the Serpentine Gallery Summer Pavilions in London. In favor of comprehending the typology as well as the developed program in London, this research was based on a selected bibliographical survey on the subject-matter and other Serpentine Gallery projects, additionally to a visit to one of the pavilions and other works by the same architect, the Chilean Smiljan Radíc. It has been used, as starting point, the reference of the author Moisés Puente and his book \"100 anos de pavilhões de exposição\", subsequent to publications on architecture history and monographs by other architects. Regarding the Serpentine Gallery, the research began with the 10-year commemorative publication of the event: \"Serpentine Gallery Pavilions\", from author Philip Jodidio, along with other publications about each pavilion. Lastly, monograph publications were gathered on the architect Smiljan Radíc, as well as on the 2014 pavilion. Therefore, it was possible to draw a panorama on these buildings throughout history, likewise some of its emblematic works for the discipline of architecture, and ther after, analyse the propositions that have been made by this gallery since the 2000s. As a result, the pavilion visited in 2014 is presented along with the author\'s work in an examination of the rehearsal field of the architect, the same field is further analysed in some of the most significant pavilions in history.

O Parque Ibirapuera é o primeiro parque metropolitano da cidade. Foi concebido como um espaço moderno, destinado ao cultivo do lazer e da cultura da população urbana. Projetado para as comemorações do IV Centenário de fundação de São Paulo, sua história envolveu oposições que foram, até o presente momento, silenciadas. A perspectiva deste trabalho desloca o enfoque do eixo comemorativo, para fazer emergirem os conflitos de posição, sobretudo quanto ao programa do parque. Na época de sua implantação, na década de 50, a construção dos pavilhões do Ibirapuera foi amplamente questionada por um grupo de urbanistas, jornalistas e intelectuais que previam para a área um parque exclusivamente verde. No entanto, os conflitos em torno dessa questão não foram discutidos pela ampla bibliografia já produzida a respeito do parque. Tais conflitos indicam que se delineava um campo de disputas entre os grupos sociais que atuavam na decisão de como o parque deveria configurar-se. / Parque Ibirapuera was the first metropolitan park in São Paulo. It was conceived as a modern space, destined to offer leisure and culture to the population. The park was projected to be part of São Paulo´s 4th Centenary celebrations, but its story involves oppositions that have been omitted in further debate. This work displaces the usual focus on the commemorative axle, in order to highlight the conflicts involved in the creation of the park – mainly related to its program. By the time of Ibirapuera´s implantation, in the 50´s, the construction of its pavilions was widely questioned by a group of urban planners, journalists and intellectuals who wanted an exclusively green park for that area. Nevertheless, this debate has never been discussed by the large bibliography already produced about the park, even though those conflicts seems to outpoint a battlefield between the social groups that acted in the decisions of the park´s configuration.

We all take the natural environment we encounter during childhood as the norm against which we measure environmental degradation later in our lives. With each ensuing generation, the amount of environmental degradation increases, but each generation in its youth takes that degraded condition as the non degraded condition - as the normal experience. This psychological phenomenon is called environmental generational amnesia, and has just recently been stated as one of the most pressing psychological problems of our lifetime. More meaningful and frequent interactions with the natural environment can clarify the confusion about what Nature really is and strengthen our relationship to it, which in turn could encourage us to preserve natural environments for the coming generations. In this way, being in Nature and appreciating it could prevent environmental generational amnesia. The BA-project Towards Recollection aims to raise the question about environmental degradation as a result of environmental generational amnesia and explore how Nature in an urbanscape could be highlighted through a group of architectural interventions and the sensory experiences of Nature, to work as a tool on our journey towards recollection and in the prevention of one of the most pressing psychological problems of our lifetime.