A habitação no turismo de natureza e de tradição

Dissertação para obtenção do grau de Mestre em Arquitectura, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

TREATED

The exhibition and community engagement hub, TREATED (the sublime passage), is at the Wyndham Art Gallery. The show allows a greater number of people to reflect on and engage with the works completed on-site, engage with the practice of the artists, and to consider ideas around process, elimination and purification as seen in the public art event, TREATMENT. There are tensions to explore here for as sewerage is transformed into liquid gold (water), ideas take form through material processes to become artworks. The exhibition also reveals much more about the artists’ research and aspects and factoids about the site. Architectural elements (installed by Bishop and Reis) referencing Melbourne Water’s Information Centre will activate the space – in displays, archival material, discarded materials and unused footage, diary notes and documentation of the project including video interviews with key people involved in the project. Two workshops will run with artists and members of the community, inviting participants to respond to the work, a particular process and prompt. This is a feature of the project that will allow for collaboration with a wide range of community stakeholders as workshops would draw on the histories and technologies of the site to provoke reflection and a material response from participants.

Making sense of heritage mining landscape conservation in Malaysia: potential and challenges

Landscape is interpreted as the creation of a cultural expression through human ideology and representing a living heritage. Since landscapes are continually evolving, it arouses challenges for sustainability in preserving significant cultural landscape which rested in evolving and transitional world. Kinta Valley former mining landscape can be described as ‘relic landscape’ and this landscape type is one of the sub category under organically evolved cultural landscape (or vernacular landscape) as incorporated in UNESCO Operational Guidelines [18:8]. The main contribution of this paper lies within the gap of knowledge and practise of cultural landscape conservation in Malaysia emphasizing on the cultural values embedded within the heritage mining landscape of Kinta Valley of Perak State, Malaysia. Concerning to the significance heritage values that lies within the Kinta Valley former mining landscape through the lens of cultural landscape theory and practice, this paper highlights on the potential and challenges faced by the Perak state government in establishing mining cultural landscape conservation which can be incorporated within the state and districts planning gazetted documents. Palang & Fry [15] remark that the interface between culture and landscape is very important to understand as it will lead to interpretations of future and current issues of past landscape developments and interventions. United Nations [17] emphasize that sustainable cultural landscape composing of ‘socially, economically and environmentally durable’ and therefore preserving the heritage mining landscape will unravel and unveil the valley sustainability. In addition, qualifying the cultural landscape significance crafted by past tin mining activities in Kinta Valley has resulted in the establishment of heritage values of state and national significance. Therefore potential and challenges of preserving this heritage landscape will be disclose and thereupon embellish the Malaysian culture heritage in general especially in enduring Perak State culture heritage and sustainability.

Colourful language: researching architects' knowledge and use of colour

The development of architectural materials and technology is transforming the colour palettes and identities of cities by juxtaposing or replacing vernacular colours with global and often contextually meaningless colours. As Built Environment designers have significant roles in determining city colourscapes, it might be expected that th ese professionals have considerable knowledge. However, there is largely an absence of colour training in the majority of built environment degree programs. While colour has been studied in a broad range of disciplines, very few studies have focussed on architecture and even less on colour in architectural education. This paper reports on the early findings of research into what informs architect’s understanding and use of colour. Data was analysed from a survey of 33 practicing architects, academics and postgraduate students from Melbourne, Australia. The findings indicate that built environment designers see the need for increasing their colour knowledge. In line with previous studies, there was no evidence of correlations between gender and age, but findings suggest cultural differences in the level of colour education depending on country of architectural study. The wider research that this study is a part of ultimately aims to inform education around the use of colour in the built environment.

Splitting centre : directing attention in trans-media dance performance

In theatrical vernacular, the term ‘splitting centre’ refers to two performers staged at an equal distance from a centre point and sharing the focus of the audience. This term encapsulates the notion that two people (or, in the case of trans-media dance, two or more performance entities) are dividing the attention of the audience, operating as equal collaborators in a performance context. The augmentation of live performance with 3D projected scenography and mobile devices offers a starting point for discussions on the potential for dramaturgy, choreographic process, and changing expectations for audience behaviour in the theatre. In 2014, Deakin Motion.Lab premiered The Crack Up, a trans-media dance work that incorporated live performance, 3D digital scenography, and The Crack Up App, an app for mobile devices that audience members were invited to interact with during the performance. This investigation into the potential of trans-media dance performance, (defined here as a live performance in which both the digital and biological elements are choreographed as artistic equals within the theatrical context) with the addition of a mobile device raises questions about how the makers of trans-media dance might direct the attention of their audiences when the work is performed simultaneously across multiple platforms.

The big sleep

Artist book of found photographs of people who are in repose (either sleeping or dead) with an essay entitled 'The Long Sleep of Photography' by Dr Daniel Palmer. Published to accompany an exhibition at Paris Photo, 2015.

Intercultural engagement through pedagogical practices

Previously, in Victoria, Intercultural Understanding was embedded in the context area of ‘Languages Other than English' and taught by LOTE specialist teachers. Positioned in the new National Curriculum as a ‘General Capability' it will become the shared responsibility of all Australian teachers and so directly impact on them and their pedagogical practices. This prioritizing of Intercultural Understanding acknowledges the role of pedagogical practice in developing national and international social cohesion as well as meeting national economic imperatives (MCEETYA 2008, Banks 2011). The diverse social context of schooling is one in which many students experience negative intercultural experiences (Mansouri et al 2010) and yet it is also a site rich with potential for positive intercultural experiences and development of cosmopolitan dispositions (Noble, 2013 Rizvi 2009; Lo Bianco 2006); particularly ‘vernacular' cosmopolitanism (Robbins, 1998; Turner 2010). Drawing on case studies from two primary schools participating in an ARC-funded national research project, this presentation considers the impact on teachers' attitudes and pedagogies as they reflect on and enact teaching to promote intercultural understanding. With a focus on critical engagement with texts (including student, teacher and community multimodal texts) the teachers design pedagogies to support the three key areas recognising culture and developing respect; Interacting and empathising with others; and reflecting on intercultural experiences and taking responsibility (ACARA, 2012). Vicarious, virtual and face-to-face opportunities for enhancement of self-awareness and cultural acknowledgment; experiencing and exploring cultural difference; and for critical reflection on cultural encounters (Bredella, 2003) will be explored. Of interest is teacher and student agency (Fielding, 2001; 2004) in the selection of resources, development of knowledge, critical reflection and approaches to dealing with sensitive issues.

'Iconic development' : is there such a thing?

By way of definition, dictionaries such as the Oxford Dictionary note that the word ‘icon’ is a noun meaning ‘a person or thing regarded as a representative symbol or as worthy of veneration’ (p. 654). More recently, the phrase ‘iconic development’ has crept into the town planning vernacular making reference to built or planned works that are intended to be an urban ‘benchmark’. However, in terms of planning practice in the State of Victoria, Australia, the meaning of ‘iconic development’ is unclear amongst property development professionals – one only needs to peruse the local newspaper, The Age on any given week and publications by key bodies such as the Planning Institute of Australia, the Victorian Planning and Environment Law Association, the Urban Development Institute of Australia and the Property Council of Australia on their websites and in professional newsletters, to appreciate the different ways the phrase is used in the property development context. This paper reports on key themes arising from interviews with 52 Victorian property development professionals, who were interviewed to determine their perceptions about what constitutes ‘iconic development’ in Victoria. Arising from the interviews, the study confirms that ‘iconic development’ is the new buzz phrase in property development circles, it is no longer just being used as a sales and marketing tool, but has been appropriated by technical professionals and introduced into different planning documents including certain local clauses in the Victorian Planning Provisions. Different professionals in the development industry, such as architects, planners and lawyers ascribe different meanings to this phrase, thereby presenting confusion in the property development industry. By understanding what these different professionals mean by the phrase ‘iconic development’ a more collaborative understanding of the phrase is arrived at to provide the practitioner and public with a more informed understanding to review realised and/or planned 'iconic development’.

Récits de croisade et digression : la conquête de Constantinople de Robert de Clari

Partant de la réputation naïve, colorée et digressive de La Conquête de Constantinople de Robert de Clari, ce mémoire propose une analyse méthodique de ce récit en prose vernaculaire de la quatrième croisade de façon à en circonscrire les moments de continuité et de rupture. En fonction de plusieurs facteurs, dont leurs formules d’introduction et de clôture, leur rapport au temps de la croisade, leur longueur relative ainsi que leur positionnement dans l’économie globale du texte, les épisodes divergents sont identifiés puis analysés en travaillant lestement avec trois caractéristiques fondamentales de la digression plutôt qu’avec une définition nucléaire du concept, ce qui permet de discerner des degrés de digressif et d’offrir un panorama nuancé de l’oeuvre. Afin d’adopter un regard plus large sur le phénomène de la digression, quatre autres récits de croisade sont étudiés, et tous, qu’ils soient écrits en prose ou en vers, en français ou en latin, sont à leur façon coupables de s’être laissés emporter par leur sujet dans des excursus qui trahissent la personnalité et les convictions de leur auteur. Tout comme Clari, Villehardouin, l’auteur de l’Estoire de la guerre sainte, Eudes de Deuil et Albert d’Aix laissent entrevoir leur propre histoire lorsque celle qu’ils mettent à l’écrit s’égare de la droite voie de sa narration. Les digressions contenues dans les récits de croisade constituent ainsi une fenêtre privilégiée sur l’histoire des mentalités du Moyen Âge central, une mine d’informations qui ne peut être adéquatement exploitée que par les efforts conjoints de l’histoire et de la littérature.

De Pas pire à Pour sûr : faits et effets des langues chez France Daigle

La littérature de l’Acadie du Sud-Est émerge dans un contexte lui-même déjà hétérolingue (Grutman). Le chiac porte d’ailleurs les traces de cette cohabitation linguistique puisque son caractère hybride traduit la forte interaction entre les communautés de la région. Or, son usage suscite-t-il une réflexion inquiète sur la situation diglossique du français acadien ou est-il strictement créatif ? Le présent mémoire porte sur le rapport à la langue dans les romans récents de France Daigle, soit Pas pire (1998), Un fin passage (2001), Petites difficultés d’existence (2002) et Pour sûr (2011), en mettant au jour les particularités sociolinguistiques et la façon dont le texte « parle la langue » (Gauvin). Bien qu’il mette à distance les présupposés idéologiques, l’œuvre de Daigle demeure extrêmement sensible au contexte socioculturel d’où il émerge. Ainsi, si l’œuvre s’affranchit d’un réalisme sociolinguistique, c’est afin de créer une « fiction linguistique » (Baetens Beardsmore) qui reconfigure l’imaginaire social de Moncton tout en intégrant certaines inquiétudes bien « réelles ». Qui plus est, la prise en compte de la polyphonie structurelle de l’œuvre permet de s’affranchir de la lecture ethnographique. 

American Perceptions of British Regional Dialects

Sociolinguists have discussed problematic language ideologies, such as Standard Language Ideology (Lippi-Green 1997) extensively and social perceptions of Standard English in the U.S and U.K are well documented. However, most work in this area has focused on perceptions of dialects within national contexts. This study makes a novel contribution to the study of language attitudes, investigating perceptions of British regional dialects within the U.S. A survey was created to gauge perceptions of five British regional dialects (Liverpool, Leeds, Birmingham, Newcastle, London). 49 survey participants listened to audio clips of British regional dialect speakers and then completed a mapping activity, answered perception questions, and ranked each speaker on specific qualities. Results showed that speaker region had a significant effect on perception of almost all variables at a statistically significant rate, despite unfamiliarity with all but the London dialect. Results suggest that although participants are largely unfamiliar with varieties of English in England outside of London, they assessed them by recruiting pre-existing stereotypes about vernacular dialects.

Récits de croisade et digression : la conquête de Constantinople de Robert de Clari

Partant de la réputation naïve, colorée et digressive de La Conquête de Constantinople de Robert de Clari, ce mémoire propose une analyse méthodique de ce récit en prose vernaculaire de la quatrième croisade de façon à en circonscrire les moments de continuité et de rupture. En fonction de plusieurs facteurs, dont leurs formules d’introduction et de clôture, leur rapport au temps de la croisade, leur longueur relative ainsi que leur positionnement dans l’économie globale du texte, les épisodes divergents sont identifiés puis analysés en travaillant lestement avec trois caractéristiques fondamentales de la digression plutôt qu’avec une définition nucléaire du concept, ce qui permet de discerner des degrés de digressif et d’offrir un panorama nuancé de l’oeuvre. Afin d’adopter un regard plus large sur le phénomène de la digression, quatre autres récits de croisade sont étudiés, et tous, qu’ils soient écrits en prose ou en vers, en français ou en latin, sont à leur façon coupables de s’être laissés emporter par leur sujet dans des excursus qui trahissent la personnalité et les convictions de leur auteur. Tout comme Clari, Villehardouin, l’auteur de l’Estoire de la guerre sainte, Eudes de Deuil et Albert d’Aix laissent entrevoir leur propre histoire lorsque celle qu’ils mettent à l’écrit s’égare de la droite voie de sa narration. Les digressions contenues dans les récits de croisade constituent ainsi une fenêtre privilégiée sur l’histoire des mentalités du Moyen Âge central, une mine d’informations qui ne peut être adéquatement exploitée que par les efforts conjoints de l’histoire et de la littérature.

De Pas pire à Pour sûr : faits et effets des langues chez France Daigle

La littérature de l’Acadie du Sud-Est émerge dans un contexte lui-même déjà hétérolingue (Grutman). Le chiac porte d’ailleurs les traces de cette cohabitation linguistique puisque son caractère hybride traduit la forte interaction entre les communautés de la région. Or, son usage suscite-t-il une réflexion inquiète sur la situation diglossique du français acadien ou est-il strictement créatif ? Le présent mémoire porte sur le rapport à la langue dans les romans récents de France Daigle, soit Pas pire (1998), Un fin passage (2001), Petites difficultés d’existence (2002) et Pour sûr (2011), en mettant au jour les particularités sociolinguistiques et la façon dont le texte « parle la langue » (Gauvin). Bien qu’il mette à distance les présupposés idéologiques, l’œuvre de Daigle demeure extrêmement sensible au contexte socioculturel d’où il émerge. Ainsi, si l’œuvre s’affranchit d’un réalisme sociolinguistique, c’est afin de créer une « fiction linguistique » (Baetens Beardsmore) qui reconfigure l’imaginaire social de Moncton tout en intégrant certaines inquiétudes bien « réelles ». Qui plus est, la prise en compte de la polyphonie structurelle de l’œuvre permet de s’affranchir de la lecture ethnographique. 

El efecto-ideología en la narrativa de Jules Barbey d'Aurevilly

Jules Barbey d’Aurevilly has been an unknown writer until recently, even in his home country, France. Nevertheless, his literary work has undergone a growing interest in the last decades. The erudite Jacques Petit was the first who studied his novels in the mid-eighties with a luxury edition of his works in the prestigious French publisher La Pléiade. He opened the way to discover the figure of the Normand author and his extensive and varied literary work. Barbey d'Aurevilly was known as a dandy artisan of his own persona, adopting an aristocratic style and hinting at a mysterious past, though his parentage was provincial bourgeois nobility, and his youth comparatively uneventful. Inspired by the character and ambience of Valognes, he set his works in the society of Normand aristocracy. Although he himself did not use the Normand patois, his example encouraged the revival of vernacular literature in his home region. The author’s family lost his fortune during the French Revolution, reason why he was against it and defended the Monarchy and the Ancien Regime; he became a counter-revolutionary. A counter-revolutionary is someone who opposes to a revolution, particularly the one who acts after a revolution to try to overturn or reverse it totally or in part. The adjective "counter-revolutionary" refers to movements that would restore the state of affairs or the principles that prevail during a prerevolutionary era; his essays, letters and newspaper articles refer to this...

Walker Evans: documentary detachment, narrative sequences and telling juxtapositions

This paper will re-examine the long established position of Evans as the quintessential detached documentary style photographer. I propose that is only part of the story. Evans was the inventor of the clinically detached and knowing ‘documentary style’. However, we will see that his magazine portfolios and his portfolios in book form; function quite differently. I will argue they employ a surprisingly engaged pictorial narrative form that echoes his personal scrapbook arrangements of magazine cuttings, and international magazine tropes of the time. Evans arranges his otherwise detached documents in satirical juxtapositions and telling sequences. I will argue that the Vitruvius of the vernacular is after all, also an engaged and engaging storyteller.