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This book is a timely study of peacebuilding in war-torn societies. Its purpose is to encourage policy makers and practitioners (in government, intergovernmental organizations, and international and local NGOs) to understand and reflect on processes designed to promote social stability and peace. Through an examination of themes and case studies, it offers conceptual analysis of interest to theorists and practitioners alike.

Orientador: Regina Aparecida Polo Muller, Graziela Estela Fonseca Rodrigues / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T01:15:22Z (GMT). No. of bitstreams: 1 Lyra_LucianadeFatimaRochaPereirade_M.pdf: 1332252 bytes, checksum: b45917f98f3c8decf0c034b89486c115 (MD5) Previous issue date: 2005 / Resumo: A presente pesquisa visa explicitar o processo de criação de uma poética em performance, cujo roteiro apóia-se na mitologia pessoal - por intermédio da persona Joana d¿Arc -, e no percurso artístico autoral, o qual se fundamenta em dois pólos: o da incursão na polifonia cênica - proposta pela Arte de Performance ­¿ e o de vivência identitária no espetáculo de Cavalo Marinho pernambucano (Bumba-meu-boi). Na trajetória desta investigação processual, foram desveladas intersecções entre as duas expressões cênicas acima mencionadas, incluindo-se aí a presença do mythos em ambas as vertentes de Performance Cultural, como são conceituadas, ressaltando-o como aquele que dá enlevo à criação espetacular e à atuação. É a partir da articulação entre o mito, enquanto narrativa intertextual, e a linguagem interseccional (Performance-Cavalo Marinho), que se aponta a Poética do Teatro Rasgado, calcada na seguinte tríade de matrizes cênicas: sacralidade (mito), ancestralidade (memória) e ludicidade (jogo) / Abstract: This research aims to present the creation process of the performance , in which the main guideline is based on the personal mythology - presented through the persona of Joan of Arc - and in the author's artistic process - this one based on two different paths: the scene polyphony - a caracteristics of performing arts - and the cultural identities showed in a Cavalo marinho (bumba-meu-boi) show, a play created in the Brazilian State of Pernambuco. In this work - in- process investigation were revealed common points between the theatrical expressions mentioned above, especially including the mythos in the definitions of both cultural performances. The mythos is responsible for  the spectacular caracteristics of both kinds of performances and for the acting. It is from this link between the mythos, as an intertextual narrative, and the interacting language (performing arts - cavalo Marinho), that the poetic quality of Teatro Rasgado (Torn Theatre) is defined, based on the following scene directions: sacrality (myth), ancestrality (memory), ludism (play) / Mestrado / Mestre em Artes

Fågeltornet som är ett folkets hus, ett naturrum och en utbildningsplats har kvar element av det gamla folkets hus oprogrammerade och öppna program men även annat har integrerats. Produktionen som inryms i byggnaden består av en bredkaveldunodling vilket är ett pilotprojekt av odling i våtmark. Att återinföra vatten till dikad torvmark som tidigare har varit våtmark hjälper till att binda växthusgaser i marken och odling i återskapat våtmark skulle kunna ge markägare en anledning att inte bara låta de gamla åkermarkerna stå. Odlingen blir både ett forskningscenter, ett naturrum och en ingång för att prata om naturvård och klimat. Bredkaveldunet har även rumsliga kvalitéer. Det över två meter höga gräset mot det 25 meter höga fågeltornet ger en lek med skalan där det kan ge illusionen av ett vanligt fågeltorn i vanligt högt gräs.Som besökare går man ner genom bredkaveldunen in i byggnaden och har som sin enda riktning upp i fågeltornet för att sedan komma ut på andra sidan byggnaden eller upp på andra våningen och se ut över fågelsjön. En annan resa genom byggnaden är den cirkulära rörelsen som man kan ta sig igenom både i byggnaden runt tornet samt i själva tornet. / The bird watching tower contains a Folkets hus (litt. “The people's house”), a Naturum (visitor centre) and an education centre and it has some elements from the former Folkets hus, as it has spaces that can be used for different purposes. The building contains a production where common cattails are grown and turned into insulation boards. The project would be the first of its kind in Sweden and research on using wetlands for plantation could be an incentive to recreate wetlands, which binds greenhouse gases. The bird watching tower would be a place where you can start a conversation about our environment and the nature around us. Common cattails can grow up to a height of three meters and therefore have a great impact on the space around it. The tall tower and the common cattail can lure the eye and almost look like a smaller bird watching tower in high grass.As a visitor, you can take different paths through the building, and they all show different things. You can either walk through the common cattail plantation and go inside the building where the direction is pointing up in the tower and then see the beautiful recreated bird lake when you walk outside, or you can walk around the building and the tower in a circular motion.

SAMMANFATTNING Ett av de valbara kandidatprojekten på KTH 2014 var att utifrån ett ganska detaljerat program utforma en stor förskola i Tantolunden i Stockholm. Åtta avdelningar, det vill säga 130 barn och 30 anställda. Dessutom en så kallad plusfunktion med avsikt att ge byggnaderna användning även när förskolan var stängd.   Min ambition var att göra en pedagogisk arkitektur på barnens villkor och med ständigt prioritet på barnens bästa. Efter en serie workshops med barnen på Ragvalds förskola utkristalliserade sig tre bärande idéer.   – Förskolan ska ha torn att leka i. – Tegel är det bästa byggmaterialet. – Det ska vara enkelt att gå in och ut.   Detta lovade jag dem att ha med i mitt förslag. Resultatet blev en serie byggnader, sammanlagt 8 stycken sammanbundna av lider och lektorn, över en av de befintliga stigarna i Tantolunden.  Även barn som inte går på förskolan har tillgång till de fyra lektornen individuellt utformade. Periskopen, Borgen, Solsystemet och Rutschkanan. Vidare utformas övervåningarna på ett sådant sätt att de blir lämpliga att hyra ut till andra barn- eller ungdomsverksamheter. Eller bara till födelsedagskalas. / ABSTRACT One of the options of the main project at the bachelor degree level at KTH 2014 was to design a large pre school based on quite detailed proposal situated at Tantolunden, Stockholm. The building was to fit eight classes i.e. 130 children and 30 staff. An additional request was to take into consideration that the buildings were supposed to be used for other activites when the pre school was closed.   My ambition was to design a building based on pedagogy of play and learn and the terms decided by the children themselves. Three clear key ideas came out from the progress of a series of workshops with the children from Ragvald’s preschool.   - The preschool should have towers to play in - Bricks are the best material to use - It should be easy to walk in and out   I made a promise to make sure the three  ideas would be incoperated in my proposal/design. The result was a series of buildings, eight in total, linked by towers and overbuilt passages stretching over one of the existing paths in the park. The individually designed towers were made so that the public could use them outside opening hours. The towers were namned the Periscope, the Castle, The Solar system and the Slide . Furthermore the upper floors were designed so it would be easy  to rent them out to external children- or youthgroups. Or just to hire for a birthday party.

<p>This dissertation explores the ‘socio-cultural dilemma’ facing international peacebuilders in war-torn societies through a case study of the post-conflict process in Bosnia and Herzegovina. This is done with the help of a typological approach of the grid-group Cultural Theory framework, which defines four social solidarities – or ideal type cultures – of individualism, egalitarianism, fatalism and hierarchy. A central argument in the thesis is that international intervention is culturally individualistic and/or egalitarian, thus socio-culturally unviable in war-torn societies, which are usually dominated by hierarchical and fatalist social solidarities.</p><p>This underlying socio-cultural conflict is used to trace the Bosnian post-war process, where the relationship between the managing international institution – the Office of the High Representative of the International Community – and the local nationalist elites repeatedly changed in response to the failure of international policies to produce the desired result, namely broad socio-cultural change in the local politics and society. Four different periods in the process are identified: 1) ’economic conditionality’, 2) ‘Bonn Powers’, 3) ‘the concept of ownership’ and 4) ‘Euro-Atlantic integration’. Each period is defined by different culturally biased policies, supported by corresponding social relations and strategic behaviours.</p><p>The individualistic and egalitarian biased approaches usually resulted in failures, as they were not viable in the local socio-cultural context. After adapting to the local context, new viable approaches produced results in specific policy areas, but at the cost of unwanted side-effects in the form of reinforcement of dominant social solidarities. The result was therefore contrary to the broad goal of the process, which was to transform the local political culture.</p><p>In other words, the defining and re-defining of the OHR’s role in the Bosnian process was a consequence of the dilemma of having to make an unsatisfactory choice: either to adapt to the way the political game is played in the Bosnian socio-cultural context in order to achieve effectiveness in the policy process, or to stay true to the peacebuilders’ own cultural biases and attempt to change the local socio-cultural accordingly. In essence, it is argued, this is the socio-cultural viability dilemma that is inherent in international peacebuilding.</p><p>In unveiling of the socio-cultural viability dilemma, the dissertation explores central problems in the Bosnian post-conflict process. It provides a credible explanation to a number of hitherto unexplained difficulties and paradoxes experienced in Bosnia. It concludes that the international intervention in this particular case was neither a success story nor a failure per se, but one which failed to properly address the dilemma of socio-cultural viability. The key conclusions regarding peacebuilding in general are that there should be a greater under¬¬standing of socio-cultural issues in peacebuilding in order to better manage the socio-cultural viability dilemma. Practically, this means that international peacebuilders need to adapt to local context and strive towards the goal of local ownership of the process. The aim should be to make the intervention as viable as possible, as quickly as possible, to boldly implement policies that promote changes in the local socio-cultural context, and to withdraw only after the necessary conditions for local ownership are in place.</p>

This dissertation explores the ‘socio-cultural dilemma’ facing international peacebuilders in war-torn societies through a case study of the post-conflict process in Bosnia and Herzegovina. This is done with the help of a typological approach of the grid-group Cultural Theory framework, which defines four social solidarities – or ideal type cultures – of individualism, egalitarianism, fatalism and hierarchy. A central argument in the thesis is that international intervention is culturally individualistic and/or egalitarian, thus socio-culturally unviable in war-torn societies, which are usually dominated by hierarchical and fatalist social solidarities. This underlying socio-cultural conflict is used to trace the Bosnian post-war process, where the relationship between the managing international institution – the Office of the High Representative of the International Community – and the local nationalist elites repeatedly changed in response to the failure of international policies to produce the desired result, namely broad socio-cultural change in the local politics and society. Four different periods in the process are identified: 1) ’economic conditionality’, 2) ‘Bonn Powers’, 3) ‘the concept of ownership’ and 4) ‘Euro-Atlantic integration’. Each period is defined by different culturally biased policies, supported by corresponding social relations and strategic behaviours. The individualistic and egalitarian biased approaches usually resulted in failures, as they were not viable in the local socio-cultural context. After adapting to the local context, new viable approaches produced results in specific policy areas, but at the cost of unwanted side-effects in the form of reinforcement of dominant social solidarities. The result was therefore contrary to the broad goal of the process, which was to transform the local political culture. In other words, the defining and re-defining of the OHR’s role in the Bosnian process was a consequence of the dilemma of having to make an unsatisfactory choice: either to adapt to the way the political game is played in the Bosnian socio-cultural context in order to achieve effectiveness in the policy process, or to stay true to the peacebuilders’ own cultural biases and attempt to change the local socio-cultural accordingly. In essence, it is argued, this is the socio-cultural viability dilemma that is inherent in international peacebuilding. In unveiling of the socio-cultural viability dilemma, the dissertation explores central problems in the Bosnian post-conflict process. It provides a credible explanation to a number of hitherto unexplained difficulties and paradoxes experienced in Bosnia. It concludes that the international intervention in this particular case was neither a success story nor a failure per se, but one which failed to properly address the dilemma of socio-cultural viability. The key conclusions regarding peacebuilding in general are that there should be a greater under¬¬standing of socio-cultural issues in peacebuilding in order to better manage the socio-cultural viability dilemma. Practically, this means that international peacebuilders need to adapt to local context and strive towards the goal of local ownership of the process. The aim should be to make the intervention as viable as possible, as quickly as possible, to boldly implement policies that promote changes in the local socio-cultural context, and to withdraw only after the necessary conditions for local ownership are in place.

Vårt examensarbete är ett konstnärligt forskningsprojekt som omfattar en inventering på över hundra torn från det medeltida Bologna samt en studie i hur torn som typologi förändras och transformeras beroende på kontext. Avsikten med vår studie är att skapa djupare förståelse för de historiska tornen i Bologna samt diskutera frågan om typologi som designmetod. Genom vårt historiska researcharbete besvarar vi frågor om varför tornen byggdes och varför de revs, hur de såg ut samt hur många de var. I diskussionen belyser vi frågan om torn som symbol och landmärke samt torns värde för stadsbilden som helhet under historiens gång. Projektet undersöker även torn som artefakt, där vi ser typologi som en metod för design. Vi tar stöd från Aldo Rossis Teatro del Mondo och utvecklar idén om ett klassiskt torn som tänjer sina egna gränser, omvandlas och anpassas för att bli specifikt i olika sammanhang i den moderna staden. Alla tornomvandlingar som gör är spekulativa och skall förstås som tydligt avläsbara reaktioner på platsens karaktär. På så sätt ämnar vi inte lösa specifika problem utan studera ett teorietiskt problem genom att problematisera, agera och analysera. / Our thesis is a research based project that includes an inventory of over one hundred towers of medieval Bologna and a study in the tower typology, how it change and transforms depending on the context. The purpose of our study is to create a deeper understanding of the historical towers of Bologna and discuss the issue of typology as a method for design. Through our historical research, we answer questions about why the towers were built, why they disappeared, what they looked like and how many they were. In the discussion, we highlight the issue of tower as a symbol and landmark and tractor value to the townscape as a whole throughout history. The project also examines the towers as an artifact, which we see typology as a method for design. We take support from Aldo Rossi's ideas realized in Teatro del Mondo and develop the idea of a classic tower that pushes its own boundaries, transforms and adapts to become specific in different contexts in the modern city. All tower transformations we are suggesting are speculative and should be understood as reactions of their specific environment. We do not intent to solve a specific problem but study a theoretical problem by questioning, acting and analyzing.

Reparationsvarv. Beckholmen kan på grund av sin historia anses vara en ofta hänsynslöst behandlad ö. Hänsynslös mot öns natur och egna ordning, för att ständigt fylla ny funktion och nya ändamål. Idag är ön starkt märkt av denna behandling, och i kontrast till tidigare, ansedd som en oerhört känslig plats, både i sin natur och exponering för staden. Staden själv ser olika värden i Beckholmen, vilka står i stark strid med varandra. Att vilja bevara Beckholmen som en ö med skärgårdsframtoning, som en förlängning av Djurgården, i kontrast till det kulturhistoriska värdet i Beckholmens tidigare varvsverksamhet som bör fortskrida och utvecklas, gör det nödvändigt att på något sätt välja sida i frågan. Vi har fått i uppgift att rita ett reparationsvarv på denna ö, och för mig kändes det mest naturliga att låta den dramatik och förändring som funnits genom historien fortskrida. Även om platsen kan anses för liten för sitt program, så är Beckholmen en unik möjlighet, och ursäkt, för att lägga en helt ny industribyggnad mitt i Stockholms hjärta. Mitt i vyn i Stockholms inlopp, skulle varvsindustrin visa att staden än idag hålls upp av människor som arbetar. Industrier och dess arbetare måste inte förpassas till förorten, utan dessa är kvaliteter som visar en levande stad, där liv man inte förväntar sig får synas och ta plats. Jag föreslår en permanent byggnad på Beckholmen. Permanent i den bemärkelsen att den ska definiera platsen med sin volym, men vara fri i sina rum. Flexibiliteten gör industrin anpassningsbar och tålig för förändring, men med fasta punkter att förhålla sig till. Tornet finns dels för volymens balans, men främst för bostäder för varvets personal. I liknelse med fyren står tornet synligt för södra Stockholm, utan att skämmas varken för sig själv eller sitt innehåll. / Beckholmen is an island, not always carefully threated by history. To fulfill new purposes and functions, the island has always been altered for new needs. Today is Beckholmen strongly marked by this treatment, and has transformed to be known as a very sensitive and fragile place, both in nature and exposure for Stockholm. Strong wills with different ambitions want to decide about Beckholmen’s future. There are different approaches amongst for example the city, Stadsbyggnadskontoret and Djurgårdsförvaltningen, about what qualities are most worth embracing. We have been asked to draw a ship yard for reparations at Beckholmen. The most natural approach for me was to let the island’s eventful history continue in to the future. Beckholmen is a unique possibility to build a brand new industrial building in the heart of Stockholm, and let it be shown that the city is carried by people who works. Why does an industry have to be deported to the suburbs, when it’s rather an indication of a living city?   I purpose a permanent building at Beckholmen. Permanent to define the site with its volume, but with flexible spaces within. The flexibility makes the industry adaptable to changes, but with some fixed part to relate. The tower is partly for the balance of the volumes, but mainly for residence of the shipyard staff. Alike a lighthouse it stands there visible for south of Stockholm, without being ashamed for either itself, or what it contains.

Diploma project_ Belgrade_ Danube_ Sava As the theme of my thesis I chose the city of Belgrade in the magic we see everyday. An interesting feature is its strategic location at the confluence of the rivers Danube and Sava. The project first deals with research in a broader context. It focuses not only on Belgrade,but also the whole Serbia and its ethnic and religious diversity, the Balkan temper of the population. Survey maps on one side of the city, its beauty and challenges, on the other hand, thesociological context, which examines the main problems of the population of the former Yugoslavia, their mutual coexistence and conflict.. Stigma of the City The work sets in five most problematic points that directly affect the river basins. These problems selecting a continuous strip length of 10 kilometers. Urban areas have a water factor and the city, which is reflected in the grid of streets. Cross streets are straight line to the city, continuing today boulevards that leads to the Danube. Longitudinal its streets and roads follow the river undulation. Based on the original idea of creating islands of the other two islands which make their way onto the side of the Danube three cities waterfront. We get water in the city, which is not only artificial reservoirs, but water in its nature and dynamics. Most exposed parts of the scarred area, the left bank of the Marina Luka which leads to the Francouzská boulevard linking the main square to the Danube. In this area has focused more specifically in connection with the sociological survey. Stigma of the Nation Due to the fact that Belgrade was the capital of Yugoslavia, I focused on interpersonal and economic problems of the population of the former Yugoslavia and its dissolution. On the outside Yugoslavia was united in its time in terms of a strong state economy. After the disintegration of countries to stop cooperating and their economy has significantly dropped. Interpersonal ethnic hatred grew in mutual exploitation of minorities, whether ethnic, and religious. The hatred and conflict in humans are deep and mutual grievances will be difficult to erase. Stigma of the City + Stigma of the Nation = Peace Center Thus we come to the junction of scar and the scars of a nation and a way to deal with both. In a significant proportion of exposed and Belgrade should be the function that has a deeper meaning, overlap, and the importance for the nation, the whole Balkan peninsula. Shaping a platform for peaceful dialogue and mutual cooperation of the former states of Yugoslavia at all levels. Building project will be a peace organization, which will fill this space understanding, cooperation and reconciliation, heal the stigma of a nation and city. The Centre is engaged in projects in the economic, social, medical, religious and cultural. A strong element is the continued ramp-boulevard of the Danube, which shows that the path to the goal may have obstacles and the goal is far off, but worth it to continue. Torn heart_ Peace Center building_ Culture_ media_ Arts As Yugoslavia disintegrated in the Yugonostalgi a back to each other, and the design of the building is torn heart of Yugoslavia, which on itself can not completely back, so at least communicate through the atrium, but are otherwise separate entities.