749 resultados para Monuments
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Pilgrimage to Compostela was decreasing in the nineteenth century. This situation was still worse in France, where the number of pilgrims dwindled dramatically. In fact, there are not many travel narratives in this period, as no relevant French author showed any interest in this religious event. An analysis of these works reveals that the worship to Santiago was somehow considered by these authors a mere historical remnant with an aura of prestige. They allow almost no space for factual descriptions, and therefore used documentary sources to discuss the topic in their own texts. As a consequence, their knowledge of this universe became indirect and intertextual.
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Cultural landscapes are the product of innumerable changes wrought by generations in order to meet their aspirations, vanities, ambitions and weaknesses (Sudjic 2006: p.326). The inescapable nature of architecture makes it the ideal vehicle for those in power to manifest their authority, taste and will in the landscape by the buildings and monuments they construct and conserve and also the historical events and myths they commemorate and disseminate. <br/>In the 1960s, many Yugoslav landscapes were altered by the construction of abstract Partisan spomenik (monuments) which dominated the skylines of former battle sites. This paper will discuss the how the collapse of Socialist regime of memory and Yugoslavia has left these landscapes as legacies of a lost world of yesterday. It will consider how changing values are reflected by physical landscape changes and also by how and which critical events are commemorated. <br/>
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<p>[EN]In recent years, several historical rock art sites have been located in Alcazar de San. Given its fragility, one of the most important and urgent tasks being undertaken within the framework of the DIPAR research project is the documentation of these sites. Among the various techniques used to this, two stand out above the rest: the application of digital photography at night, and three-dimensional documentation.</p>
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Con el presente estudio hemos intentado rastrear a travs de la fuentes literarias e historiogrficas la fundacin de Alejandra, su desarrollo urbano, la creacin de sus monumentos ms icnicos y su transformacin en una ciudad mtica. El trabajo concluye con el anlisis de la visin que el cine contemporneo ha ofrecido de su perfil desde la poca ptolemaica hasta el final del Bajo Imperio Romano.
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Los valores del patrimonio edificado en las tenencias del municipio de Morelia distan mucho de ser los de la zona de monumentos de la capital, ya que tienen que ver con la cultura popular, el saber colectivo y las tradiciones constructivas. El artculo explica que como reflejo de los cambios en la economa, cultura y desarrollo de sus habitantes, las tenencias experimentan un proceso de transformacin y hasta la prdida de su patrimonio edificado. Las unidades de anlisis se seleccionaron con el ndice de Accesibilidad e Interaccin Espacial; posteriormente se explican los indicadores de Accesibilidad y Urbanizacin, y finalmente estos datos se correlacionan con el indicador de transformacin del patrimonio. Medir y conocer las caractersticas de los factores que transforman el patrimonio cultural edificado es una manera anticipada de conservarlo como una manifestacin cultural, histrica, de una forma de vida y un elemento de identidad.
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The Porta Nocera 2 program aims to study the process of establishing and developing a Roman urban necropolis from a road network, which is an essential setting in the expression of death in the Roman time. As such, the necropolis of Porta Nocera essentially excavated between 1952 and 1958 and then in 1983 offers a privileged field study. Indeed, monuments and funerary enclosures with burial structures (graves, cremation areas) built along the road to Nocera are well preserved and allow to observe funerary practices on a relatively short time, about 160 years, since we can assume that the necropolis has been founded with the colony in 80 BC. It is then the necessity to organize a burial area according to Roman customs, which is at the origin a new landscape development until then essentially marked by the presence of the urban wall.
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My novel, 'How Long the Night,' and my essay, The Ghosts of Muranw: Confronting Polands Jewish Past, focus on the relationship between urban space, memory and identity. Before the Second World War Muranw was one of the largest Jewish districts in Europe. In August 1939 Polands capital was home to 380,000 Jews, which accounted for about 30 percent of the citys total population. During the war the district was the central part of the Warsaw Ghetto located near the Umschlagplatz, the place from which Jews were transported to concentration camps. After the failed uprising in 1943 the Nazis burnt the entire quarter to the ground. There was nothing left, except for heaps of rubble. The debris was to be the foundation on which the new socialist realist residential district would stand. The new Muranw, erected on the ashes of the former ghetto, is a space of absence, emptiness and repressed guilt. There are no physical traces of the Jewish presence in the area, except for commemorative plaques, monuments or obelisks. Former tenement houses, shops, synagogues are gone; street names and their layout are different as well. Nevertheless, the former Jewish district is present in images, dreams (or nightmares), in fantasies, memories and stories. My novel and my essay explore the connection between place, history, memory and trauma. The space of Muranw becomes a symbolic trigger for investigation and re-examination of the forgotten or suppressed past. What is more, the novel examines the way a foreign language serves as a tool through which painful and repressed stories can be (re)told.
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The article aims at showing similarities and differences in the perception of tourist attractions among tourists with and without hearing impairment. The first part depicts perception problems from the theoretical point of view. Complexities of studies on the perception system have been described. The perception itself is channelled via senses, including mainly sight (reception of approximately 87% of outside factors), hearing (7%), smell (35%), touch (15%) and taste (1%) (Visual Landscape 1994, after: Pietrzak 2008). The data suggests that people with hearing impairment, owing to dominative position of sight perception and to other senses (except hearing), should perceive outside factors similarly to people with no hearing impairment, also in terms of tourist attractions. Is this really a fact? The attempt to answer this question resulted in conducting questionnaire study among the tourists, both with and without hearing impairment. The data was collected, based on questionnaire study, conducted nationwide in years 20042010 among the 292 deaf (for whom Polish Sign Language is the main method of communication) and 1780 people without hearing impairment. The aim of this study was to reveal, if tourists with hearing dysfunction have different tourist preferences than those without any hearing disabilities and to indicate which tourist attractions are the most significant for tourists with hearing impairment. The percentage values and the level of signi-ficance (p), calculated on the basis of Pearsons chi-square test (with border value of p 0.05), were used in the analysis It was determined, that in case of perception of natural tourist attractions, there is a major similarity (both, people with and without hearing impairment indicated such attractions as sea, lake, clean natural environment, natural landscape, climate and diversified land relief, including mountains). As far as cultural attractions are concerned, a similarity in perception of both studied groups can also be observed. The most popular attractions include those, which can be perceived with sight: monuments, historic landmarks, museums, open-air museums, places of worship and modern architecture. The biggest differences are related to culture and entertainment, which indicates a social aspect of the disability of people with hearing impairment (a discomfort of being in environ-ment, where sound is the main carrier of information). The conclusions from the conducted analyses are applicative in their nature. They contain hints for tour operators, involved in creating tourist offer for people using Polish Sign Language, taking into account their preferences, perception abilities and ensuring pleasant tourist experience.
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O presente projeto tem como principal objetivo a Classificao como Conjunto de Interesse Pblico (CIP) dos Vestgios Arqueolgicos de Lourosa, associando ao estudo o potencial turstico que advm da ligao aos recursos patrimoniais. Outros objetivos: A Criao de um Centro Interpretativo da Cultura Judaica e o Reconhecimento e Notoriedade Internacional. O Turismo Cultural e Religioso, considerado como um produto emergente e inovador e uma das apostas do Plano Estratgico Nacional do Turismo (PENT) 2013/2015 continua a ser um recurso turstico do projeto Turismo 2020. A presena judaica em Portugal tida pela comunidade cientfica como muito significativa e o seu valor patrimonial muito relevante. Constituem aspetos deste patrimnio histrico-cultural: as comunas e as judiarias, as sinagogas e os armrios sagrados, as inscries e as marcas de simbologia judaica e crist-nova, as tradies e os costumes. A confluncia entre a cultura, a religio e o turismo d origem ao denominado Turismo Cultural e Religioso. A Organizao Mundial do Turismo, identifica o turismo cultural como sendo: O movimento de pessoas essencialmente por motivos culturais, incluindo visitas de grupo, visitas culturais, viagens a festivais, visitas a stios histricos e monumentos, folclore e peregrinao (OMT, 1985, citado por McKercher e du Cros, 2002). O turismo cultural tem sido considerado a rea de maior crescimento no turismo global. O turismo religioso tem igualmente uma relao forte com o patrimnio existente sendo que, o principal objetivo a participao em rituais de culto. Assim sendo, o turismo uma atividade multifacetada que apresenta uma forte ligao com o patrimnio material e imaterial existente contribuindo desta forma, para o desenvolvimento econmico e social de uma determinada regio.
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The archaeological excavation carried out in the last two decades by the author, as well as the study of data resulting from early works, allows us to understand that the megalithic monuments after being built have, in some cases, a long diachronic of reuses. Here is presented a brief summary of monuments, contexts and archaeological artefacts.
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This book is a synthesizing reflection on the Holocaust commemoration, in which space becomes a starting point for discussion. The author understands space primarily as an amalgam of physical and social components, where various commemorative processes may occur. The first part of the book draws attention to the material aspect of space, which determines its character and function. Material culture has been a long ignored and depreciated dimension of human culture in the humanities and social sciences, because it was perceived as passive and fully controlled by human will, and therefore insignificant in the course of social and historical processes. An example of the Nazi system perfectly illustrates how important were the restrictions and prohibitions on the usage of mundane objects, and in general, the whole material culture in relation to macro and micro space management the state, cities, neighborhoods and houses, but also parks and swimming pools, factories and offices or shops and theaters. The importance of things and space was also clearly visible in exploitative policies present in overcrowded ghettos and concentration and death camps. For this very reason, when we study spatial forms of Holocaust commemoration, it should be acknowledged that the first traces, proofs and mementoes of the murdered were their things. The first "monuments" showing the enormity of the destruction are thus primarily gigantic piles of objects shoes, glasses, toys, clothes, suitcases, toothbrushes, etc., which together with the extensive camps space try to recall the scale of a crime impossible to understand or imagine. The first chapter shows the importance of introducing the material dimension in thinking about space and commemoration, and it ends with a question about one of the key concepts for the book, a monument, which can be understood as both object (singular or plural) and architecture (sculptures, buildings, highways). However, the term monument tends to be used rather in a later and traditional sense, as an architectural, figurative form commemorating the heroic deeds, carved in stone or cast in bronze. Therefore, the next chapter reconstructs this narrower line of thinking, together with a discussion about what form a monument commemorating a subject as delicate and sensitive as the Holocaust should take on. This leads to an idea of the counter-monument, the concept which was supposed to be the answer to the mentioned representational dilemma on the one hand, and which would disassociate it from the Nazis traditional monuments on the other hand. This chapter clarifies the counter-monument definition and explains the misunderstandings and confusions generated on the basis of this concept by following the dynamics of the new commemorative form and by investigating monuments from the 80s and 90s erected in Germany. In the next chapter, I examine various forms of the Holocaust commemoration in Berlin, a city famous for its bold, monumental, and even controversial projects. We find among them the entire spectrum of memorials big, monumental, and abstract forms, like Peter Eisenmans Memorial to the Murdered Jews of Europe or Daniel Liebeskinds Jewish Museum Berlin; flat, invisible, and employing the idea of emptiness, like Christian Boltanskis Missing House or Micha Ullmans Book Burning Memorial; the dispersed and decentralized, like Renata Stih and Frieder Schnocks Memory Places or Gunter Demnigs Stumbling Blocks. I enrich descriptions of the monuments by signaling at this point their second, extended life, which manifests itself in the alternative modes of (mis)use, consisting of various social activities or artistic performances. The formal wealth of the outlined projects creates a wide panorama of possible solutions to the Holocaust commemoration problems. However, the discussions accompanying the building of monuments and their "future life" after realization emphasize the importance of the social component that permeates the biography of the monument, and therefore significantly influences its foreseen design. The book also addresses the relationship of space, place and memory in a specific situation, when commemoration is performed secretly or remains as unrealized potential. Although place is the most common space associated with memory, today the nature of this relationship changes, and is what indicates popularity and employment of such terms as Marc Augs non-places or Pierre Noras site of memory. I include and develop these concepts about space and memory in my reflections to describe qualitatively different phenomena occurring in Central and Eastern European countries. These are unsettling places in rural areas like glades or parking lots, markets and playgrounds in urban settings. I link them to the post-war time and modernization processes and call them sites of non-memory and non-sites of memory. Another part of the book deals with a completely different form of commemoration called Mystery of memory. Grodzka Gate - NN Theatre in Lublin initiated it in 2000 and as a form it situates itself closer to the art of theater than architecture. Real spaces and places of everyday interactions become a stage for these performances, such as the Jewish town in Lublin or the Majdanek concentration camp. The minimalist scenography modifies space and reveals its previously unseen dimensions, while the actors residents and people especially related to places like survivors and Righteous Among the Nations are involved in the course of the show thanks to various rituals and symbolic gestures. The performance should be distinguished from social actions, because it incorporates tools known from religious rituals and art, which together saturate the mystery of memory with an aura of uniqueness. The last discussed commemoration mode takes the form of exposition space. I examine an exhibition concerning the fate of the incarcerated children presented in one of the barracks of the Majdanek State Museum in Lublin. The Primer Children in Majdanek Camp is unique for several reasons. First, because even though it is exhibited in the camp barrack, it uses a completely different filter to tell the story of the camp in comparison to the exhibitions in the rest of the barracks. For this reason, one experiences immersing oneself in all subsequent levels of space and narrative accompanying them at first, in a general narrative about the camp, and later in a specifically arranged space marked by childrens experiences, their language and thinking, and hence formed in a way more accessible for younger visitors. Second, the exhibition resigns from didacticism and distancing descriptions, and takes an advantage of eyewitnesses and survivors testimonies instead. Third, the exhibition space evokes an aura of strangeness similar to a fairy tale or a dream. It is accomplished thanks to the arrangement of various, usually highly symbolic material objects, and by favoring the fragrance and phonic sensations, movement, while belittling visual stimulations. The exhibition creates an impression of a place open to thinking and experiencing, and functions as an asylum, a radically different form to its camp surrounding characterized by a more overwhelming and austere space.
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A fotogrametria uma tcnica que utiliza a fotografia como ponto de partida, tendo vrias aplicaes, como por exemplo, o levantamento topogrfico de terrenos, edifcios e monumentos. Nesta dissertao foi aplicada a tcnica ao levantamento de edifcios e monumentos, em alternativa aos levantamentos tradicionais, onde todas as medies so obtidas manualmente. Foram escolhidos uma fachada de um edifcio e um monumento histrico da cidade de Viseu, cujos levantamentos foram realizados utilizando recursos correntes e disponveis no Departamento de Engenharia Civil da Escola Superior de Tecnologia e Gesto de Viseu. Utilizou-se, tambm, um programa informtico desenvolvido especificamente para a fotogrametria. Os levantamentos realizados geraram modelos 3D em wireframe (estrutura de arame) e com texturas. Aps a retificao dos modelos, cotaram-se os desenhos, sendo possvel efetuar medies dos elementos constituintes da fachada do edifcio e do monumento.
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The stone masonry walls are present in many buildings and historical monuments, with undeniable asset value, but also in old buildings housing both in Portugal and in Europe. Most of these buildings in masonry are in certain cases in a high state of degradation needing urgent intervention. This requires the identification of deficiencies and the application of appropriate intervention techniques. One of the possible techniques for structural consolidation works of stone masonry walls is the injection of fluid mortars currently called grouts. The choice of grouts is very important with regard in particular to their chemical and physical properties. In this study, carried out under the Master of Chemical Engineering, two types of lime-based grouts were used, in order to evaluate and compare their chemical resistance due to the crystallization of soluble salts. One of the grouts is a pre-dosed blend commercially available, Mape-Antique I from company Mapei (CA), and the second grout is a mixture prepared in the laboratory (LB), comprising metakaolin, cement, hydrated lime, water and superplasticizer. With the purpose of evaluating the action of sulphates on these grouts, a series of samples underwent several wetting-drying cycles using two different temperatures, 20 C and 50 C. During the experiment it was determined the change of weight and compressive strength in the analyzed grouts, as well as the sulphate ion concentration and pH of the solution in which the samples were dipped. The commercial grout (CA) apparently has a greater chemical resistance to sulphates. However grout LB showed to have positive results in some parameters.
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L'art mgalithique identifi dans le sud du Portugal est prsent dans deux types de monuments: les menhirs (simples ou regroups en enceintes mgalithiques) et les dolmens. Ces diffrents aux niveaux des monu-ments se refltent aussi sur les motifs reprsents, qui sont beaucoup plus abondants et varis dans les menhirs. Dans ces monuments mgalithiques funraires, lart tait, par manque de preuves, apparemment rare, voire nul, dans cette rgion. Ce scnario semble maintenant commencer changer. En fait, grce l'un des projets en cours, nous avons identifi les premiers monuments funraires avec des gravures. Aucuns des motifs identifis sont typiques des menhirs de l` Alentejo, mais taient pratiquement inconnus dans les dolmens.