This architectural thesis reimagines the design of prisons, proposing a new typology that helps with a more beneficial transition for prisoners back into society. By drawing insights from documentaries, movies, interviews, and existing prison models, the thesis envisions a utopian prison environment centered on rehabilitation and social reintegration. This approach challenges the conventional punitive model and aims to address the pressing issues of high recidivism rates and the marginalization of ex-offenders. The proposed prison design integrates structured psychological treatments, meaningful social interactions, and opportunities for skill development and personal growth. These elements create a dual reality for prisoners, juxtaposing the harsh physical conditions of confinement with a supportive psychological environment that encourages inner resilience and hope. This thesis explores the architectural symbolism embedded in both dystopian and utopian prison designs, reflecting societal values of control, oppression, freedom, and rehabilitation. By emphasizing the power of hope and imagination, this thesis provides a comprehensive understanding of the interplay between physical confinement, mental resilience, and societal ideologies. It aims to shed light on the human capacity to maintain agency, identity, and purpose even in oppressive environments, contributing to broader discussions on justice, rehabilitation, and societal change. / Master of Architecture / This architectural thesis challenges traditional perceptions of prisons by proposing a new typology focused on facilitating prisoners' successful reintegration into society. Inspired by diverse sources, including documentaries, films, and interviews. This thesis envisions a utopian prison model that prioritizes rehabilitation over punishment. This innovative design aims to reduce recidivism and address systemic issues within the current penal system. The proposed approach combines structured psychological treatments, meaningful social interactions, and skill development opportunities to create an environment where inmates can thrive both mentally and physically. By analyzing architectural elements and their symbolic significance, this thesis highlights the contrast between conventional punitive prison designs and a new rehabilitative model. Through this reimagined prison design, this thesis explores the themes of mental resilience, hope and imagination, and architectural symbolism. It underscores the potential for prisoners to maintain a sense of identity and purpose despite physical confinement, offering a transformative vision for the future of incarceration and societal reintegration

The investigation applies the intelligence cycle and researches the degree of Utopian development, as observed at Busch Gardens Williamsburg (BGW), Virginia, utilizing a common business and competitive intelligence tool, known as the SWOT.  The research uncovered numerous aspects apparent at the target, BGW, many of which served to re-classify the theme park development from that of a premier theme park to a themed amusement park.  The research question was concluded on by indicating that there was no apparent sincere or consistent attempt being made to perfect the numerous venues at the park, and that no specific cause or reason was identifiable as to the intentionality or unintentionality of the neglect of the research question, in terms of design intent toward constant improvement, as in Utopian-driven expectations of development. / Master of Landscape Architecture

This thesis discusses Utopian thought and compares the Utopias of Plato, Sir Thomas More, Sir Francis Bacon, and Jonathan Swift in the areas of government, education, and social problems.

The aim of this dissertation is to study the evolution of the Russian anti-utopian literary genre in the new post-Soviet environment in the wake of the defunct Soviet socialist utopia. The genre has gained a renewed importance during the 2000s, and has been used variously as a means of dealing satirically with the Soviet past, of understanding the present, and of pondering possible courses into the future for the Russian Federation. A guiding question in this study is: What makes us recognize a novel as anti-utopian at a time when the idea of utopia may appear obsolete, when the hegemony of nation states has been challenged for several decades, and when art has been drawn towards the aesthetics of hybridity? The main part of the dissertation is comprised of detailed analyses of three novels: The Slynx (Kys', 2001) by Tatyana Tolstaya; Homo Zapiens/Babylon (Generation ‘P’, 1999) by Viktor Pelevin; and Ice Trilogy (Ledianaia Trilogiia, 2002−2005) by Vladimir Sorokin. The further development of the genre is subsequently discussed on the basis of seven novels published in the past decade. A main argument in the dissertation is that the genre has been modified in ways which can be seen as a response to social and political changes on a global scale. The waning power of the nation state, in particular, and its broken monopoly as the bearer of social projects marks a new context, which is not shared by the classic works of the genre. Analysis of this evolution in post-Soviet anti-utopian novels draws on sociological as well as literary studies. The dissertation shows how the analysed novels use the possibilities of the genre to problematize various forms of societal discourse, and how these discourses work as mutations of utopia. Prominent among these are historical discourses, which reflect the increasing importance of historical narratives in public political debates in the Russian Federation.

Ao lado de Ulises Lima, Arturo Belano protagoniza o romance Los detectives salvajes (1998), do escritor chileno Roberto Bolaño. A trajetória de Belano, que ultrapassa essa obra, e desembarca com semelhante força e espaço no romance Amuleto (1999), confunde-se propositalmente com a biografia do autor. Configura-se na construção desse personagem a clássica figura do alter ego, aqui servindo ao escritor como instrumento de revisão da própria história e de sua relação com a vida política e literária de uma América Latina em ebulição na década de 1970. A referida relação é, como este trabalho pretende demonstrar, utópica. Essa utopia, ao frustrar-se no exercício da política propriamente dita, migra para o campo literário, convertendo a poesia em horizonte, o único possível. / Beside Ulises Lima, Artur Belano stars Los detectives salvajes (1998), a novel written by the Chilean author Roberto Bolaño. Belanos journey, which surpasses the book and reaches, with similar strength and space, the novel Amuleto (1999), is intentionally merged with the authors biography. The construction of this character makes use of the classical concept of the alter ego, which is, in this case, the writers instrument for revising his own history and his relationship with the political and literary life of a booming Latin America in the 1970s. As this present work intends to show, the mentioned relationship is utopian. This utopia, when frustated in the political activity itself, moves to the literary field, turning poetry into the horizon, the only one possible.

[pt] A cidade do Rio de Janeiro passa por um processo de produção espacial banalizado, resultado de dois processos entendidos como facetas da metropolização do espaço: a mercadificação e a militarização. Uma expressão de tal banalização do espaço é percebida a partir das cracolândias, como popularmente as cenas de crack são conhecidas. Cracolândia é uma representação que oculta e mascara as contradições do espaço, uma faceta da urbanização banalizada. Por outro lado, todo esse movimento suscita a contestação e a transgressão, o protesto. E é neste sentido que, a partir do que Harvey chama de livre fluxo da imaginação, objetivamos buscar meios de moldar alternativas e possibilidades diante deste cotidiano organizado e programado pelo mundo da mercadoria. A partir do espaço de representação que é a Cristolândia, observamos as práticas espaciais dos missionários como uma luta pela reapropriação do espaço urbano, por meio de seu espaço de utopia, construído sobre uma base formada pelos valores da justiça, libertação e compaixão. Esta luta é observada como uma dentre muitas outras. O princípio norteador dessa pesquisa está em abrir alternativas e possibilidades, procurar rachaduras para superar o estado de coisas atual. Se a representação Cristolândia contesta a representação cracolândia, e busca transformá-la, acreditamos que seja possível transformar o espaço inteiro, a cidade inteira. É um projeto utópico, mas, sem utopia não há ação. Portanto, a utopia é uma necessidade urgente à revolução. / [en] Rio de Janeiro city is under a space production process cheapened resulted by other two process understood as space metropolization’s facets: the marketfication and the militarization. One expression of such trivialization of space is noted thru Cracolândias, as the crack scene are popularly known. Cracolândia is one representation that hide and mask the space contradiction, one facet of trivialized urbanization. On the other hand all this movement raises the contestation and transgression, protest. In this meaning, from what Harvey calls free flow of imagination, objectify to search ways of framing alternatives and possibilities front of these everyday life and programed by world merchandise. From space of representations that is Cristolândia, we noted the spaces practices of missionaries as a fight for reappropriation of urban space by their utopia space, built over one base formed by values as justice, liberation and compassion. This struggle is noticed as one among many other. The research guiding principle is to open the alternatives and possibilities, seek cracks to overcome the actual state of affairs. If the representation of Cristolândia challenges the representation of cracolândia and pursuit to turn it, we believe that is possible to transform the entire space, the entire city. It is a utopian project, but without utopia there is no action. Therefore, utopia is an urgency needed for revolution.

Esta dissertação se propõe a investigar, no campo da arquitetura e urbanismo, os empregos do termo \"utopia\" num período em que este foi especialmente movente e dissensual: o final dos anos 1950 até o início dos anos 1970, no contexto europeu. Elegeu-se, para estudo de caso, as proposições da Internacional Situacionista e do Superstudio. Acompanharemos de forma mais detida os escritos situacionistas desde a fundação do movimento (1957) até cerca de 1961, período em que as discussões do grupo estão voltadas para a arquitetura, o urbanismo e a arte. No caso de Superstudio, priorizaremos a sua produção desde o seu surgimento (dezembro de 1966) até 1973, que é quando o interesse do grupo migra do tema da utopia para o estudo de modos de vida vernaculares e não-urbanos. A eleição destes dois grupos diz respeito à forma bastante distinta com que cada um lida com a questão das utopias, ao mesmo tempo que o lastro marxista comum nos permite traçar uma série de comparações, marcando as suas aproximações e divergências / This dissertation proposes to investigate, in the field of architecture and urbanism, the The term \"utopia\" in a period in which it was especially Dissensual: the late 1950s to the early 1970s in the European context. The case of the Situationist International and the Superstudio. We will more closely follow the situationist writings from the Foundation of the movement (1957) until about 1961, when discussions of the Focus on architecture, urbanism and art. In the case of Superstudio, We will prioritize its production from its inception (December 1966) until 1973, Which is when the interest of the group migrates from the theme of utopia to the study of modes of Vernacular and non-urban life. The election of these two groups concerns the Quite different from what each one deals with the question of utopias, at the same time That the common Marxist ballast allows us to draw a series of comparisons, marking Their approximations and divergences.

A partir de duas monografias paralelas que analisam territórios emblemáticos de habitação social na periferia de São Paulo e Paris, propomos nesta tese um entendimento simultâneo da situação da Cité Balzac, um grand ensemble característico dos anos 1960 que atravessou recentemente um profundo processo de \'renovação urbana\', confrontada com a história de um fragmento do maior complexo de conjuntos habitacionais da América Latina, a Cidade Tiradentes, como estratégia para compreender os últimos cinquenta anos da história da habitação social em ambos os países. Projetos recentes de renovação urbana, de novos conjuntos habitacionais e equipamentos públicos de excelência em ambos os territórios confirmam a excepcionalidade dos casos estudados, a partir dos quais buscamos estabelecer similitudes, contrastes, questões comuns e \'olhares cruzados\'. / In this thesis, we propose a simultaneous understanding of the history of two emblematic territories in the outskirts of São Paulo and Paris as a strategy to comprehend the last fifty years of the social housing history in both countries, through the analysis of the transformations of a tipical grand ensemble build in the 1960 that has been recently through a deep renewal process, the Cité Balzac, confronted with the particular case of one fragment of the biggest housing projects complex in Latin America, the Cidade Tiradentes. Recent projects of urban renewal, new collective housing constructions and some special public equipments in both territories reinforce the exceptionality of the chosen cases, starting point for parallels, contrasts, common questions and crossed sights.

Ao longo dos períodos históricos a técnica tem desempenhado um papel importante na formulação de demandas sociais. Os indivíduos sempre depositaram nas tecnologias suas expectativas e desejos para a construção de uma realidade diferente. O mesmo tem acontecido hoje com as tecnologias digitais. Muitos grupos sociais atribuem a elas um papel de possibilitadoras de uma sociedade mais justa e mais democrática, onde o conhecimento seja algo irrestrito e pertença a todos. Neste trabalho pretendemos apresentar, a partir de uma perspectiva histórica, esse debate contemporâneo em torno das tecnologias digitais como tecnologias emancipadoras. Para tal, trabalharemos com o Projeto GNU, representante do movimento software livre, idealizado na década de 1980 por Richard Stallman, e que se insere nesse debate através da sua defesa, não só de uma informática livre, mas do conhecimento livre como um todo. Entendemos que esse projeto é um dos principais representantes da tendência atual de depositar nas tecnologias digitais a expectativa de uma sociedade melhor. Investigamos as características desse discurso do Projeto GNU e buscamos perceber de que forma ele foi se construindo ao longo do tempo, assim como também quais práticas sociais o acompanham e quais indivíduos são seus portadores. Identificamos neste discurso a presença de palavras-chave historicamente mobilizadoras e que permitem que ele seja incorporado tanto por grupos de esquerda quanto de direita. Além disso, ao se colocar como um projeto político e defender uma sociedade diferente da que temos hoje, o Projeto GNU, com sua causa do software livre, é representante de uma verdadeira utopia moderna. / Over the past historical periods the technique has played an important role in the formulation of social demands. People always placed in the technologies their expectations and desires of constructing a different reality. The same thing has happened recently with digital technologies. Many social groups rely on technology as an enabling mechanism for a fairer and more democratic society, where the knowledge is unrestricted and widely available. In this work, we use a historical perspective to present a contemporary debate on digital technologies as emancipatory instruments. For that purpose, we investigated the GNU Project - an outstanding free software movement initiated by Richard Stallman in the 1980s - because of its long-term strive not only for a free computer science but also for free knowledge. We consider the GNU Project one of the main representatives of the current expectations of digital technologies as enabling mechanisms for a better society. We investigated the characteristics of GNU Projects speech and we tried to understand how it has been built over the time, as well as social practices which accompany individuals and what are its carriers. We identified, in the discourse, historically mobilizing keywords which may be used by both left- and right-wing groups. Furthermore, by positioning itself as a political project aimed to develop a diferente society, the GNU Project and its free software crusade are legitimate representatives of a true modern utopia.

Através da utilização de letras de músicas produzidas entre os anos de 1981 e 1989, busquei analisar o papel que o rock brasileiro teve como elemento de manifestação da juventude que havia crescido sob a ditadura de 1964. Utilizei os conceitos de utopia e distopia para compreender de que maneira essas letras, ao mesmo tempo, serviram como representação da compreensão desses jovens de seu momento histórico e como instrumento de crítica da realidade econômica e social ao seu redor. Mais do que reflexo cultural de seu período, tais letras manifestavam a contradição ideológica da época, na qual a utopia em torno de uma sociedade melhor era negada pela própria distopia presente nas relações econômicas e sociais cotidianas. Esta mesma contradição foi observada na relação entre arte e mercado, criticada por muitas bandas, mas necessária para que suas músicas alcançassem seus ouvintes. É importante ressaltar que o movimento punk brasileiro teve papel fundamental para as bandas do rock brasileiro da década de 1980, pois ele mostrou que era possível produzir músicas para e pela juventude que vivia a transição da ditadura para a democracia. / Using lyrics of songs produced from 1981 to 1989, I tried to analyze the role Brazilian rock n roll had as an element of manifestation of youngsters who had grown up during the 1964 dictatorship. I used the concepts of utopia and dystopia to understand in which way these lyrics, at the same time, served as a representation of the understanding of these youngsters of their historical moment and as an instrument of criticism of the economic and social reality that surrounded them. More than just a cultural reflex of their period, these lyrics demonstrated the ideological contradiction of their time, in which utopia regarding a better society was denied by dystopia that could be found on daily economic and social relations. That same contradiction was observed on the relation between art and market, criticized by many bands, but necessary for the dissemination of their songs among their listeners. It is important to say that the Brazilian punk movement had a fundamental role for the Brazilian rock bands of the 1980s, since it showed it was possible to make songs for and by the youngsters that were living the transition from dictatorship to democracy.