Academic literature on the topic 'Lost monuments'
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Journal articles on the topic "Lost monuments"
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Giguere, Joy M. "The (Im)Movable Monument." Public Historian 41, no. 4 (November 1, 2019): 56–82. http://dx.doi.org/10.1525/tph.2019.41.4.56.
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Despite Kentucky’s status as a Union state during the Civil War, the Louisville Confederate Soldiers’ Monument, erected in 1895 by the Kentucky Confederate Women’s Monument Association, is a representative example of Confederate memorialization in the South. Its history through the twentieth century, culminating in the creation of the nearby Freedom Park to counterbalance the monument’s symbolism and its ultimate removal and relocation to nearby Brandenburg, Kentucky, in 2017, reveals the relationship between such monuments and the Lost Cause, urban development, public history, and public memory. Using the Louisville Confederate Monument as a case study, this essay considers the ways in which Confederate monuments not only reflect the values of the people who erected them, but ultimately shape and are shaped by their environments.
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Dickerman, Leah. "Monumental Propaganda." October 165 (August 2018): 178–91. http://dx.doi.org/10.1162/octo_a_00328.
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“Monumental Propaganda” compares the use of monuments by the Soviet Union and supporters of the Southern side in the American Civil War—in particular, the way they claimed ideological territory by proliferating statues of Lenin and Robert E. Lee, respectively. To answer the question of whether an alternative commemorative landscape might be imaginable, the essay turns to The Negro in Virginia (1940), a book devoted to the historical achievements of black citizenry in America. The book's endpapers present an illustrated map of Virginia indicating sites where black Americans played a critical historical, economic, and/or cultural role. In a book that can itself be seen as a kind of counter-monument to those extolling the Lost Cause, the map presents a vision of monuments that might have been.
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Bates, C. Richard, Martin Bates, Chris Gaffney, Vincent Gaffney, and Timothy D. Raub. "Geophysical Investigation of the Neolithic Calanais Landscape." Remote Sensing 11, no. 24 (December 11, 2019): 2975. http://dx.doi.org/10.3390/rs11242975.
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The northern and western isles of Scotland have proved fertile ground for archaeological investigation over the last 100 years. However, the nature of the landscape with its rugged coastlines and irregular topography, together with rapid peat growth rates, make for challenging surveying. Commonly, an archaeological monument or series of monuments is identified but little is known about the surrounding areas and, in particular, the palaeo-landscapes within which the monuments are located. This situation is exemplified by the standing stones of Calanais in Lewis. Here, surrounding peat bogs have buried a significant portion of the landscape around which the stones were first erected. This project identifies remote sensing geophysical techniques that are effective in mapping the buried (lost) landscape and thus aid better contextualisation of the stone monuments within it. Further, the project demonstrates the most appropriate techniques for prospecting across these buried landscapes for as yet unidentified stone features associated with the lives of the people who constructed the monuments.
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Baumann, Uwe. "“Past Future Concrete” revisited: Ex-Yugoslav monuments shaped as destinations via online image practices." Český lid 107, no. 4 (September 15, 2020): 469–92. http://dx.doi.org/10.21104/cl.2020.4.03.
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Spomenik is the Serbo-Croatian word for monument. Internationally, the term is used for the partisan monuments that were erected throughout the former Yugoslavia to commemorate events of the Second World War. With the wars in the 1990s that led to the disintegration of Yugoslavia, many of these objects became detached from their original function, and thus became a dissonant heritage between differing nationalist narratives of the past. With their modernist architecture, the Spomeniks have become, since the late 2000s, popular internet motifs, and tourists are now showing growing interest in visiting the monuments. In order to capitalize on and institutionalize this increasing attention, a cultural route for tourists has recently been established. In this process of valorization, presenting the condition and decay of the monuments and characterizing them as “lost” places, which has become a decisive aesthetic in their circulation online, plays a large role in the constitution of these sites of memory (lieux de mémoire). This picturesque image practice as a phenomenon of cosmopolitanism will be exemplified by online representations of the Tjentište Monument in Bosnia-Herzegovina.
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Stipić, Davor. "1951-1952 competition for the Monument to the fallen Jewish soldiers and victims of fascism in the Sephardi cemetery in Belgrade." Nasledje, no. 21 (2020): 177–90. http://dx.doi.org/10.5937/nasledje2021177s.
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In their wish to preserve the memory to the compatriots who lost their lives in the Holocaust, the Jewish community in Yugoslavia started erecting monuments to Jewish civil victims and fallen soldiers as early as the first few post-WWII years. The Monument to the Fallen Jewish Soldiers and Victims of Fascism put up in the Sephardi cemetery in Belgrade in 1952, potent with artistic and political significance, stood out from the rest of the monuments of the period. It was dedicated to all the Jews from the Socialist Republic of Serbia who lost their lives in the World War II. The purpose of this article is to analyse the competition for the design of the monument by examining the documents from the Archives of the Jewish Historical Museum in Belgrade, thus making a contribution to the research of the culture of Holocaust remembrance in the Yugoslav Socialism, but also to show artistic, social and ideological aspirations of the time when, after the Cominform schism, Yugoslavia was at political crossroads. By exploring the symbolism and aesthetic values of this work, the research presented in this paper attempts to enhance the understanding of architect Bogdan Bogdanović's early creative efforts.
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Alderman, Nigel. "“Rememb'ring Mercy”: Monuments, Memory, and Remembering inParadise Lost." Milton Quarterly 42, no. 3 (October 2008): 183–96. http://dx.doi.org/10.1111/j.1094-348x.2008.00194.x.
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Scrivano, Gaggero, and Volpe. "Methodological Approach to Reconstructing Lost Monuments from Archaeological Findings: The San Francesco di Castelletto Church in Genoa." Minerals 9, no. 10 (September 20, 2019): 569. http://dx.doi.org/10.3390/min9100569.
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Throughout history, natural hazards, wars, political changes and urban evolution have contributed to the obliteration of outstanding monuments. The study of their remains, frequently recovered as archaeological findings, can be the basis for a reconstruction of the lost structures, by way of their size, function, decoration and stylistic evolution. The present study developed a multidisciplinary approach to gather and interpret archaeological fragments and archive sources, in order to gain as much information as possible on “lost monuments”. The approach was tested with remnants (i.e., several hundreds of marble fragments found during archaeological excavations) of the monastic complex of San Francesco di Castelletto (Genoa), which was demolished after the Napoleonic suppressions. A preliminary organisation of the sample set was attained through cataloguing shape, size, and decoration. After this, a comparison with similar complexes still existing in Genoa allowed the inference of the age and specific ornamental functions for the majority of the pieces. Surface analysis, carried out in situ (portable microscope) and on micro‐samples (petrographic analysis and SEM‐EDS), allowed the characterisation of the materials (e.g., assessing marble provenance and identifying pigments). As a whole, the method evolved into an operational protocol, which helped both the organisation of the archaeological findings and the reconstruction of unknown phases of the lost monument.
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BROWN, THOMAS J. "Monuments and Ruins: Atlanta and Columbia Remember Sherman." Journal of American Studies 51, no. 2 (March 22, 2016): 411–36. http://dx.doi.org/10.1017/s0021875816000530.
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Commemorations of the burning of Atlanta and Columbia reveal the relationship of form and content in Confederate memory. Atlanta monuments announced civic rejuvenation to national audiences, particularly tourists. Columbia ruins lamented the fracture of local elites' political dominance. The divergent cultures informed Margaret Mitchell's fabrication of Lost Cause myth in Gone with the Wind (1936) and Elizabeth Boatwright Coker's excavation of Lost Cause legend in La Belle (1959). The decline of monuments and ruins contributed to the transformation of the Lost Cause into a different configuration of Confederate memory during the decade of the Civil War centennial.
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Stathopoulou, E. K., A. Georgopoulos, G. Panagiotopoulos, and D. Kaliampakos. "Crowdsourcing Lost Cultural Heritage." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5/W3 (August 12, 2015): 295–300. http://dx.doi.org/10.5194/isprsannals-ii-5-w3-295-2015.
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Cultural Heritage all over the world is at high risk. Natural and human activities endanger the current state of monuments and sites, whereas many of them have already been destroyed especially during the last years. Preventive actions are of utmost importance for the protection of human memory and the prevention of irreplaceable. These actions may be carried out either in situ or virtually. Very often in situ preventive, or protective or restoration actions are difficult or even impossible, as e.g. in cases of earthquakes, fires or war activity. Digital preservation of cultural heritage is a challenging task within photogrammetry and computer vision communities, as efforts are taken to collect digital data, especially of the monuments that are at high risk. Visit to the field and data acquisition is not always feasible. To overcome the missing data problem, crowdsourced imagery is used to create a visual representation of lost cultural heritage objects. Such digital representations may be 2D or 3D and definitely help preserve the memory and history of the lost heritage. Sometimes they also assist studies for their reconstruction. An initiative to collect imagery data from the public and create a visual 3D representation of a recently destroyed stone bridge almost 150 years old is being discussed in this study. To this end, a crowdsourcing platform has been designed and the first images collected have been processed with the use of SfM algorithms.
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Waite, Kevin. "The “Lost Cause” Goes West." California History 97, no. 1 (2020): 33–49. http://dx.doi.org/10.1525/ch.2020.97.1.33.
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California once housed over a dozen monuments, memorials, and place-names honoring the Confederacy, far more than any other state beyond the South. The list included schools and trees named for Robert E. Lee, mountaintops and highways for Jefferson Davis, and large memorials to Confederate soldiers in Hollywood and Orange County. Many of the monuments have been removed or renamed in the recent national reckoning with Confederate iconography. But for much of the twentieth century and into the twenty-first, they stood as totems to the “Lost Cause” in the American West. Despite a vast literature on the origins, evolution, and enduring influence of the Lost Cause myth, little is known about how this ideology impacted the political culture and physical space of the American West. This article explores the commemorative landscape of California to explain why a free state, far beyond the major military theaters of the Civil War, gave rise to such a vibrant Confederate culture in the twentieth century. California chapters of the United Daughters of the Confederacy (UDC) carried out much of this commemorative work. They emerged in California shortly after the organization's founding in Tennessee in 1894 and, over the course of a century, emblazoned the Western map with salutes to a slaveholding rebellion. In the process, the UDC and other Confederate organizations triggered a continental struggle over Civil War memory that continues to this day.
Dissertations / Theses on the topic "Lost monuments"
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Graaf, Jenny. "After the expulsions : the lost German Heimat in memory, monuments and museums." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14478/.
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This comparative thesis explores how museums and monuments in postwar east and west Germany commemorate the eastern territories that were lost after 1945. I focus on the concept of Heimat which spans aesthetics and politics, psychological and political identity and emerges from a condition of loss, thus it features highly in my attempt to understand the development and current state of memorialisation. The centrality of the notion of Heimat in expellee memorialisation is a field as yet little explored in research on the expulsions, particularly in east Germany. Following chapters on the historical context, Heimat, and cultural memory, Chapter Three discusses monuments erected between 1947 and 1989 by expellees who resettled in West Germany which are used to mourn, replace, reflect on and revere the old Heimat. I compare post-unification west and east German memorials, discussing key differences resulting from the former taboo on expellee commemoration in East Germany. I additionally examine changing sites of memory, memorials that illustrate a shifting integration process and investigate the use of symbolism. Chapter Four considers the interaction between eyewitnesses, historians and curators in the portrayal of history in museums and Heimatstuben at Görlitz, Greifswald, Lüneburg, Regensburg, Molfsee, Gehren, Rendsburg and Altenburg, in addition to the Altvaterturm in Thuringia. Chapter Five discusses the contentious Berlin Stiftung Flucht Vertreibung Versöhnung Centre, first mooted in 1999 by the Bund der Vertriebenen as a Centre against Expulsions. The tension between ‘German victims’ and ‘victims of the Germans’ is a recurring theme in this thesis. My conclusions highlight how memorialisation is framed clearly within the contemporary socio-political context, demonstrate the durability and flexibility of the term Heimat and illustrate the resilience of the regard for the lost territories, not only for expellees; the idea of the German East persists in German cultural memory.
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Xandri, Guitart Marcel. "Monuments "a los caídos por dios y por España" a Catalunya, 1939 a 1970." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/394062.
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Aquesta tesi doctoral investiga la interacció que existí entre els ajuntaments i les institucions centrals del govern franquista respecte la gestació dels monuments “a los Caídos por Dios y por España” (o “por la Patria”) erigits a Catalunya entre 1939 i 1970, és a dir des de la victòria de les tropes “nacionals” fins gairebé els darrers anys de la dictadura, i amb una pluralitat d’aspectes relacionats amb aquestes obres que es construïren a l’espai públic amb fins propagandístics, sovint substituint-ne d’altres de commemoració o estil rebutjats pel nou règim instaurat. Així, s’ha descrit els cerimonials o actes rituals d’homenatge relacionats amb aquests monuments, així com el tractament arquitectònic i urbanístic que s’atorgà als espais que allotjaven les obres impulsades per les corporacions municipals i les particularitats locals i factors socioculturals i raons d’organització i normatives que haurien influït en l’elecció d’uns models tipològics i estilístics i llurs emplaçaments i en la gènesi dels projectes i l’execució de les obres, elements en els que s’evidencia un escenari caracteritzat per una multiplicitat de situacions distintes.
La part inicial d’aquest treball es centra en la base teòrica, el context històric i els aspectes de ideològics, propagandístics, estètics i relatius a la idiosincràsia del règim franquista que foren determinants per a la gestació d’aquests monuments. L’anàlisi de les realitats locals s’ha portat a terme per poblacions, agrupant les iniciatives monumentals que es van impulsar, i classificades en quatre grans àmbits territorials: l’àrea de proximitat de Barcelona, la Catalunya central, les terres de Ponent i les comarques nord-orientals. La ciutat de Barcelona s’analitza separadament, com a capital i degut a la seva singularitat, tant en el tarannà artístic i urbanístic com per la seva complexitat i diversitat de monuments.
La reconstrucció de les casuístiques dels diferents municipis i els comportaments dels ajuntaments respecte els procediments seguits, la cronologia i temporalitat amb la que els monuments foren aprovats, dissenyats i erigits i l’elecció dels projectes han demostrat que, contràriament a l’estesa visió d’uniformitat amb la que sovint es contempla aquest període històric, no existia un criteri unificat o una interpretació unitària de les directrius, els estàndards i les normes en la matèria. També s’ha comprovat, en línies generals, una evolució entre les obres construïdes amb major immediatesa en consolidar-se l’ascens de Franco, els monuments definitius que s’alçaren durant els primers dos terços dels anys quaranta i els que veieren la llum amb posterioritat. Tanmateix, també s’ha pogut identificar divergències entre, per una banda, zones en què es preferí seguir una tendència continuista d’uns cànons i convencions estètics com la geometria quadrangular, la sobrietat, les formes classicitzants, la severitat i la verticalitat, que responien a uns dictàmens i principis que, de manera genèrica i difusa, havien emès els dirigents o teòrics propers al règim i integrants del pensament feixista espanyol, i unes ciutats que, per altra banda, apostaren per certa innovació i progrés estilístic i cercaren certa originalitat i diferenciació en les creacions que exhibiren en els seus espais urbans. Relacionat amb aquest fet, cal dir que s’ha revelat, en la compilació de la documentació de tramitació d’aprovació dels projectes per part del poder central, que el control fou major durant el primer franquisme, imposant modificacions que són mostra del moment de major obstinació i rigidesa del règim i, com a resultat, redirigint les decisions locals. Paral·lelament, s’han trobat casos en què es projectaren i aprovaren monuments que mai s’arribaren a construir i en què s’adoptà una solució commemorativa alternativa.This dissertation explores the interaction between local governments and the central institutions of the Franco post-military coup regime regarding the creation and construction of the monuments dedicated to the “Caídos por Dios y por España” (the fallen members of the Fascist bloc) erected in Catalonia between 1939 and 1970 (from the victory of the Fascist troops until the last years of the dictatorship) and a number of related issues. The new monuments were used as part of the propaganda artillery of the totalitarian regime of Franco for its construction of a collective memory and the vindication for legitimacy of conferring heroism to the fallen and linking their death to the laudable subjugation to the will of God, while contributing to the imposition of “Catholic-National” identity. It describes the ceremonial or rituals of homage related to these monuments, as well as the architectural treatment given to the urban spaces that housed the works promoted by the municipalities, often replacing other monuments of remembrance or style that were rejected by the new regime installed, as well as the local particularities and sociocultural factors and organizational reasons and regulations that would have influenced the choice of stylistic and typological models and their locations and the genesis of the project and execution of the works, aspects that demonstrate a scenario characterized by a multiplicity of different situations. The initial part of this work focuses on the theoretical framework, the historical, ideological and aesthetic context and in regard to the idiosyncrasy of the Francoist regime which were decisive in the gestation of these monuments. The analysis of local realities has been carried out and presented within a classification by towns and geographic areas: the zone of proximity to Barcelona, Central Catalonia, the West of the region and the Northeast. Barcelona is analyzed separately, as the capital and due to its uniqueness in both urban and artistic character as to its complexity and diversity of monuments. The approach to the various situations, decisions and performance shown by the different local council authorities of the different towns regarding the procedures followed, the chronology and timing with which the monuments were approved, designed and erected and the projects chosen have proved that, in contrast to the widespread view of uniformity of this historical period, there was no unified criterion or unitary interpretation of guidelines, standards and regulations on the matter. It has also demonstrated an evolution, though unevenly, among the works built with greater immediacy after the rise of Franco, the planned monuments that rose during the first two thirds of the forties and those that saw the light later. However, significant differences have been identified between, on the one hand, areas with a remarkable tendency of continuity to preserve the aesthetic canons and conventions (quadrangular geometry, sobriety, classical shapes, severity, verticality), adopting recognizable patterns and respecting to generic principles dictated by the rulers and theoreticians of the Spanish fascism, and, on the other hand, cities that opted for a certain innovation and progress in terms of style and sought originality and differentiation in their creations exhibited in the public space. In addition to this, and revealed by the compilation of documentation of project approval processing, it has been found out that the control by the central power was higher during the first period of the dictatorship imposing changes that are proof of a the moment of greatest obstinacy and rigidity of the regime and, as a result, redirecting local decisions. Simultaneously, several monuments were conceived and approved but never brought to reality.
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Childs, Erin. "Take Me to the River: Revitalizing LA's Lost Monument." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/56.
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The tale of South Korea's Cheonggyecheon River is one to warm an urban environmentalist's heart. Cheonggyecheon runs through the center of Seoul, a bustling metropolis of ten million that has been the capital of Korea since the 14th century. The Japanese were the first to sacrice Cheonggyecheon on the altar of urbanization, turning the River into a sewage system during their 35 year occupation between 1910 and 1945. Already thusvdegraded, it was easy for later administrations to eventually completely cover the river with the Cheonggye Road and Cheonggye Elevated Highway between 1958 and 1976. Cheonggyecheon became an exemplar of the expendability of urban environments in the face of modernization and economic growth, particularly the need for transportation in a quickly developing city. In the early 1990s it was discovered that extensive repair would be necessary to maintain the Highway, and with heavy political leadership of Mayoral Candidate Myung-Bak Lee, now the president of South Korea, the decision was made to restore the river rather than repair the road (Park, 2006).
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Manríquez, Morales Fabiola. "Del patrimonio a los patrimonios: monumentos, imaginarios y usos: la iglesia de Los Santos Ángeles Custodios y la Basílica de la Merced desde su declaración de Monumento Histórico hasta la actualidad." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/167973.
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Korčáková, Alžběta. "Zhodnocení objektů Kurialova archivu na Uherskohradišťsku /rozšířené o památkově chráněné objekty/." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2014. http://www.nusl.cz/ntk/nusl-233263.
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The goal of this doctoral thesis is to map and evaluate the current situation of folk architecture in the region around the city of Uherské Hradiště on the example of selected villages. Later, these findings will be compared with the archive of prof. Antonin Kurial. The text has been extended to include currently listed buildings and output of this work is a new catalogue of buildings of folk architecture in the above mentioned region.
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Burke, Andrew Douglas Pinkerton. "Patterns in archaelogical monument loss in East Central Scotland since 1850." Thesis, University of Stirling, 2004. http://hdl.handle.net/1893/2587.
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The Monuments at Risk Survey 1995 (MARS) outlined rates and causes of identified monument loss in England, showing that 16% of recorded monuments had been completely destroyed by 1995, and that 95% of surviving monuments in England had suffered partial destruction. Hitherto, no equivalent research has been undertaken in Scotland. Using a 17% random stratified sample of 779 field monuments surviving in 1850 within a study area encompassing much of the local authority areas of Perth and Kinross, Fife and Angus, the present research has analysed the distribution and quantified loss of archaeological monuments since 1850 in relation to a number of variables including land use, Land Capability for Agriculture, elevation, local authority area, monument period and material construction. Results show that monument distribution within the study area varies most noticeably according to land use and elevation. The highest densities of extant monuments are found in semi-natural woodland (17.2 extant sample monuments per 100km2) and non-intensive land uses such as unimproved grazing and moorland (13.8 extant sample monuments per 100km2). The lowest density of extant monuments is found in arable and improved pasture (4.5 extant sample monuments per 100km2), although this is offset by a recorded density of 11.5 cropmark sample monuments per 100km2. By elevation, monument densities are highest below 100m OD (24.4 monuments per 100km2) and between 250m OD and 400m OD (21 monuments per 100 km2)with a pronounced paucity of recorded monuments between 100m OD and 200m OD, particularly on improved and arable land. For each sample monument, a condition history has been constructed through a desk-based study using data from the National Monuments Record of Scotland. This desk-based study has recorded the greatest causes of monument loss since 1850 as unknown causes (28% of loss), archaeological excavation (24% of loss), farming (15% of loss) and development (11% of loss). The monument condition histories created through the desk-based study have then been augmented and calibrated for a subsample of 258 monuments by means of an accuracy assessment, using information from vertical and oblique aerial photographs, survey reports from Historic Scotland Monument Wardens and a programme of field survey. Using these additional data sources, the accuracy assessment has identified the largest causes of monument loss within the study area since 1850 as forestry (31% of loss), farming (28% of loss) and development (12% of loss). Analysis shows that among monuments extant in 1850, a minimum of 38% have been reduced in extent, with at least 5% destroyed. Loss has been greatest among monuments found in arable and improved land (39% reduced, 27% destroyed), forestry (79% reduced, 9% destroyed) and developed land (63% reduced, 27% destroyed), and lowest among monuments found in permanent pasture (91% undamaged), semi-natural woodland (75% undamaged) and rough grazing and moorland (85% undamaged). Although the use of a desk-based study and accuracy assessment has proved successful in identifying trends in the loss of visible monuments, it has been necessary to employ alternative methods by which to assess damage at buried monuments represented by cropmarks. To this end, a programme of excavation, topographic survey and soil depth recording has been undertaken at five locations in Perth and Kinross. Analysis of the results from this programme of excavation and survey has identified statistically significant relationships between land surface curvature and topsoil depth at three of the five sites examined, enabling the mapping at site scale of areas which are likely to have been subject to greatest agricultural damage. Extrapolating from these site-specific maps, it has been possible to map probable damage and risk to cropmark monuments at a regional scale. Although the validity of this regional scale mapping has been limited by the 25m cell size of the digital terrain model on which it has been based, the potential of such a technique in enabling a rapid preliminary assessment of damage and risk to cropmark monuments has been demonstrated.
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Sturm, Moreira Thomas Wilfried. "Valparaíso: su Patrimonio Histórico y los Sismos." Tesis, Universidad de Chile, 2008. http://www.repositorio.uchile.cl/handle/2250/103267.
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Ingeniero CivilAnte la necesidad de proteger el patrimonio arquitectónico y cultural de la humanidad, la UNESCO ha declarado Patrimonio de la Humanidad los centros históricos de varias ciudades del mundo, entre las cuales se encuentra la ciudad de Valparaíso. Teniendo en cuenta el peligro sísmico de esta ciudad es necesario estudiar el inventario de edificios históricos para identificar los edificios con mayor vulnerabilidad teniendo en cuenta las condiciones locales de sitio. Con este propósito en este Trabajo de Título se estudian dos edificios históricos de albañilería no reforzada que sobrevivieron a los terremotos de 1906 (Ms=8.2) y de 1985 (Ms=7.8) aprovechando que se obtuvo información relacionada con las condiciones locales de suelo y con las características de la configuración sismo resistente de los edificios, lo que permite calcular diferentes índices de vulnerabilidad sísmica propuestos para este tipo de edificios. Los índices utilizados corresponden a métodos que califican como de Primer Nivel, como son los propuestos por Meli y Lourenço y Roque, y a métodos de Segundo Nivel, como son los propuestos por Gallegos y el grupo del GNDT. De los antecedentes reunidos y de los resultados obtenidos se puede destacar: Los terremotos de 1906 y 1985 son los terremotos que han causado más daño en la ciudad de Valparaíso en los últimos 100 años. El daño que se ha producido a raíz de estos terremotos depende en gran medida de la calidad del suelo de fundación, siendo mayor en los edificios construidos sobre rellenos artificiales no controlados con las características de los encontrados en el “plan” del sector de El Almendral de la ciudad de Valparaíso. En cambio, estos daños han sido moderados para las condiciones locales de sitio del sector del Puerto y en los cerros de Valparaíso. Para edificios históricos con las características de los edificios estudiados, especialmente con terminaciones sencillas y de poco peso, basta con usar los índices de vulnerabilidad de los métodos de Primer Nivel, en particular la densidad de muros (Índice 1). Al aplicar estos índices resulta que la vulnerabilidad del Palacio Luis Cousiño es baja y la del Palacio Subercaseaux es alta si sólo se consideran las características de la configuración estructural. Al aplicar los índices de los métodos de Segundo Nivel, ambos edificios presentarían una condición de vulnerabilidad similar. Este diagnóstico indicaría que en estos métodos hay factores descalibrados en cuanto a su impacto en el comportamiento sísmico de los edificios históricos chilenos. La razón principal para que se conserven estos dos edificios históricos después de dos grandes terremotos con las características de los terremotos del tipo interplaca chilenos, además de su buena conexión entre muros, es el hecho de que uno tiene una alta densidad de muros en ambas direcciones de la planta y el otro este fundado sobre roca. Esta última condición ha permitido que el Palacio Subercaseaux haya sobrevivido a pesar de su baja densidad de muro en la dirección longitudinal (1=1.59%).
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Rojas, Stull Paulo. "Programa de comunicación visual para los monumentos nacionales e inmuebles de la comuna de Recoleta." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/112954.
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Diseñador GráficoNo autorizada por el autor para ser publicada a texto completo
El proyecto consiste principal-mente en la difusión y puesta en valor de la riqueza patrimonial de los Monumentos Nacionales e inmuebles de conservación histórica de la comuna de Recoleta. Lo anterior se logrará mediante la utilización de 2 elementos: Una imagen de marca que identifique al patrimonio histórico comunal en su conjunto; y una campaña de difusión que promueva dicha imagen de marca. La marca a diseñar tiene por objetivo presentar al patrimonio de Recoleta como un “todo” coherente. Esto es, identificar a Recoleta como una zona patrimonial. El valor patrimonial a promover no solo incorporará la importancia arquitectónica de las edificaciones patrimoniales, sino también considerará las tradiciones que se viven en los monumentos (en su mayoría son de índole religiosa). La fusión de ambas perspectivas permite apreciar la evolución de la sociedad chilena a lo largo de los últimos siglos, y es justamente este punto lo que entrega un valor agregado a la riqueza patrimonial de esta zona en particular. Esto, porque las tradiciones y creencias que actualmente se relacionan a los monumentos, han perdurado en tiempo hasta nuestros días y constituyen un reflejo del pasado, de nuestra historia. La campaña de difusión pretende dar a conocer esta nueva marca patrimonial utilizando piezas graficas en establecimientos de educación, centros turísticos, instituciones y eventos de carácter patrimonial, en los mismos edificios patrimoniales de la comuna y en internet. La difusión de la riqueza patrimonial comunal estará orientada en 2 aspectos: el turismo cultural y la educación ciudadana. Así, la campaña está dirigida a 2 grupos objetivos: - En primer lugar al turista nacional y extranjero. - En segundo lugar a los ciudadanos, de manera que conozcan, cuiden y defiendan su patrimonio. El proyecto se ha enfocado en la comuna de Recoleta principalmente debido a la cantidad de riqueza patrimonial concentrada en dicha comuna. Por otro lado, este enfoque contribuye también a dirigir de mejor forma las acciones comunicacionales, puesto que permite incorporar el proyecto a nivel comunal. Así, se podrá relacionar el proyecto no solo con entidades encargadas del tema, como el Consejo de Monumentos Nacionales, “Voluntarios por el Patrimonio” o SERNATUR, sino también con la Municipalidad de Recoleta. Este factor es importante, puesto que esta última entidad es la primera beneficiada y la principal responsable de mantener un bien que forma parte de su historia.
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Bottos, Ryan. "The placemaking of ritual, remembrance, and loss." PDF viewer required Home page for entire collection, 2007. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Saenz, Tapia Adriana Carolina. "Línea de tierra y los falsos monumentos : el fenecer de una nación frente a su bicentenario." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2021. http://hdl.handle.net/20.500.12404/19811.
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Esta tesis presenta el proyecto artístico Un Reflejo Del Cuerpo Peruano
Agonizante que conforma los proyectos de video instalación: Ars Corona Moriendi
y En Silencio Gimió El Grito Sagrado: Libertad Nunca, En Mis Tierras Nunca.
A partir de ello, planteamos la hipótesis de que existe un problema desde los
representantes máximos del Estado para poder proteger y preservar la vida humana
de manera digna, equitativa y justa a nivel nacional, situación que desemboca en
una muerte indigna e innecesaria. Adicionalmente, nos centramos, también, en la
dificultad de una posible construcción identitaria como una sociedad peruana
unificada. Esta situación, de falta de representatividad, se ve reflejada en uno los
símbolos más importantes de la celebración del centenario de independencia del
Perú, el monumento conmemorativo republicano al libertador Don José de San
Martín. Esto último nos permitió profundizar y conectar con aspectos indispensables
que conforma la historia de la escultura, los monumentos. Abordamos la
problemática bajo un breve recuento histórico sobre el desarrollo social del Perú
desde el periodo de su independencia, pasando por el centenario para llegar al
bicentenario, recuento histórico a razón de la crisis sanitaria por SARS-CoV-2. Esta
investigación presenta los objetivos a modo de preguntas, ya que no solo buscarán
ser abordadas teóricamente sino, también, por medio de la praxis artística:
¿Quiénes son las verdaderas víctimas del proceso de consolidación de la República
del Perú? ¿De qué manera la realidad social peruana es definida por la muerte?
¿Cómo ello puede ser traducido al campo del arte? Por ende, buscamos la
revaloración de la historia que nos constituye como república y la historia del declive
de los monumentos que constituye al desarrollo del ámbito escultórico del arte.This thesis presents the artistic project A Reflection Of The Agonizing Peruvian Body that conforms the video installation projects: Ars Corona Moriendi and En Silencio Gimió El Grito Sagrado: Libertad Nunca, En Mis Tierras Nunca (In Silence Moaned The Sacred Cry: Freedom Never, In My Lands Never). Therefore, the hypothesis is that exists a problem from the highest representatives of the State to be able to protect and preserve human life in a dignified, equitable and fair way at a national level, a situation which leads to an undignified and unnecessary death. Additionally, we also focus on the difficulty of a possible construction of identity as a unified Peruvian society. This situation of lack of representativeness is reflected in one of the most important symbols of the celebration of the centenary of Peru's independence, the Republican commemorative monument to the liberator Don José de San Martín. The latter allowed us to deepen and connect with indispensable aspects that make up the history of sculpture, the monuments. We approached the problem under a brief historical account of the social development of Peru from the period of its independence, passing through the centenary to reach the bicentenary, historical account due to the health crisis caused by SARS-CoV-2. This research presents the objectives as questions, since they will not only seek to be addressed theoretically but also through artistic praxis: Who are the real victims of the process of consolidation of the Republic of Peru? How is the Peruvian social reality defined by death? How can this be translated into the field of art? Therefore, we seek the revaluation of the history that constitutes us as a republic and the history of the decline of the monuments that constitutes the development of the sculptural field of art.
Books on the topic "Lost monuments"
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La mémoire des ruines: Anthologie des monuments disparus en France. Paris: Mengès, 1992.
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Vtracheni sporudy ta pam'i︠a︡tnyky Kyi︠e︡va: Dovidnyk. Kyïv: VPT︠S︡ "Kyïvsʹkyĭ universytet", 2004.
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John, Burke. Seed of knowledge, stone of plenty: Understanding the lost technology of the megalith builders. San Francisco, CA: Council Oak Books, 2006.
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John, Burke. Seed of knowledge, stone of plenty: Understanding the lost technology of the megalith builders. San Francisco: Council Oak Books, 2005.
Find full textBook chapters on the topic "Lost monuments"
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Witte, Arnold. "Lost Frescoes, a Forgotten Saint and a Rediscovered Play: S. Magno in Cittaducale." In Monuments & Memory: Christian Cult Buildings and Constructions of the Past, 349–59. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.acsha-eb.4.2018030.
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Kimmelfield, Isabel. "Remembering the Lost Palace: Explaining and Engaging with the Absence of Constantinople’s Great Palace." In Monuments & Memory: Christian Cult Buildings and Constructions of the Past, 121–30. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.acsha-eb.4.2018011.
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Erbal, Ayda. "Lost in Translation: The Monument’s Deconstruction." In The Armenian Genocide Legacy, 212–26. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-56163-3_14.
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Hasian, Marouf A., and Nicholas S. Paliewicz. "Civil Lawfare, Remembrances of Lost Causes, and Charlottesville’s Confederate Monument Controversies." In Memory and Monument Wars in American Cities, 59–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53771-5_3.
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Chiang, Michelle. "The Disengaging Beckettian Television Audience and the Monument to Loss." In Beckett's Intuitive Spectator, 133–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91518-0_5.
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Shahab, Palvasha. "The Land of Mourning: A Conversation with Adeela Suleman." In Interdisciplinary Studies in Human Rights, 121–28. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73835-8_7.
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AbstractAdeela Suleman is a globally celebrated artist and sculptor. She was front and centre of the artists’ response to the Ali Enterprises Factory Fire of 2012. Under her leadership, the Vasl Artists’ Association sent out a call for submissions to artists across Pakistan and the overwhelming response was curated in the form of the exhibition titled: ‘Awaaz Baldia Factory Inferno: Artists Respond’ which was hosted by the Arts Council of Pakistan in February 2013. Her monument dedicated to those who lost their lives in the fire was also part of the one year anniversary of the fire has been placed at the Pakistan Institute of Labour Education and Research (PILER). She also facilitated several international collaborations and artists intending to engage with the fire. Palvasha Shahab sat down with her to explore her thoughts about the role that art and artists play in the face of calamities and social injustices, her relationship to Karachi and her own response to the fire.
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Taylor-Batty, Mark. "How to Mourn: Kane, Pinter and Theatre as Monument to Loss in the 1990s." In Ethical Speculations in Contemporary British Theatre, 59–75. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137297570_4.
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Argyropoulos, Vasilike, Stamatis C. Boyatzis, Maria Giannoulaki, Elodie Guilminot, and Aggeliki Zacharopoulou. "Organic Green Corrosion Inhibitors Derived from Natural and/or Biological Sources for Conservation of Metals Cultural Heritage." In Microorganisms in the Deterioration and Preservation of Cultural Heritage, 341–67. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_15.
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AbstractIn the last decade, there has been an increase in research related to green corrosion inhibitors for conservation of metals cultural heritage to help promote sustainable practices in the field that are safe, environmentally friendly, and ecologically acceptable. The most common are organic substances derived either from natural and/or biological sources: plant extracts and oils, amino acids, microorganisms, and biopolymers. The chapter will provide a review of these substances as corrosion inhibitors for metals conservation, by discussing the state-of-the-art research to date, with a special focus on cysteine. Most of the research has focused on the examination of such inhibitors on metal coupons with or without corrosion products using electrochemical techniques or weight-loss measurements to determine their effectiveness. Some of these studies have also considered the conservation principles for practice, i.e., reversibility of the treatment and the visual aspect of the modification of the treated metal surface. However, before such green inhibitors can be routinely applied by conservators, more research is required on their application to real artefacts/monuments using in situ corrosion measurements. Furthermore, given that the composition of a green inhibitor is highly dependent on its extraction process, research must also involve identifying the specific adsorption models and involved mechanisms to ensure reproducibility of results.
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D’Auria, Saverio, Giuseppe Sini, and Rodolfo Maria Strollo. "Aerial Digital Photogrammetry and Terrestrial Laser Scanning for Reconstruction Hypothesis of Monumental Building Lost Façades: The Case of Villa Mondragone." In Architectural Draughtsmanship, 1309–23. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_103.
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Littmann, Jasper, A. M. Viens, and Diego S. Silva. "The Super-Wicked Problem of Antimicrobial Resistance." In Ethics and Drug Resistance: Collective Responsibility for Global Public Health, 421–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-27874-8_26.
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Abstract Antimicrobial resistance (AMR) – the progressive process by which microbes, such as bacteria, through evolutionary, environmental and social factors develop the ability to become resistant to drugs that were once effective at treating them – is a threat from which no one can escape. It is one of the largest threats to clinical and global health in the twenty-first century – inflicting monumental health, economic and social consequences. All persons locally and globally, and even all future persons yet to come into existence, all suffer the shared, interdependent vulnerability to this threat that will have a substantial impact on all aspects of our lives. For example, while reliable data are hard to find, the European Centre for Disease Prevention and Control (ECDC) has conservatively estimated that, in Europe alone, AMR causes additional annual cost to health care systems of at least €1.5 billion, and is responsible for around 25,000 deaths per year. Furthermore, AMR significantly increases the cost of treating bacterial infections with an increase in length of hospital stays and average number of re-consultations, as well as the resultant lost productivity from increased morbidity. With a combined cost of up to $100 trillion to the global economy – pushing a further 28 million people into extreme poverty – this is one of the most pressing challenges facing the world. Most troublingly, if we do not succeed in diminishing the progression of AMR, there is the very real potential for it to threaten common procedures and treatments of modern medicine, including the safety and efficacy of surgical procedures and immunosuppressing chemotherapy. Some experts are warning that we may soon be ushering in a post-antibiotic area.
Conference papers on the topic "Lost monuments"
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Arrouf, Abdelmalek, and Berkane Nadia. "LE CORBUSIER ET LA MAIN OUVERTE À CHANDIGARH. La genèse d’une œuvre." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1006.
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Résumé: En décembre 1950, Le Corbusier est associé à la conception de la nouvelle capitale du Pendjab indien. En complément du projet, il intégra le monument de la main ouverte élevée au dessus de la fosse de la considération. Le Corbusier déclare d’emblée que le monument de la Main Ouverte est un « complément » au programme de Chandigarh, fourni par « l’autorité ». Il est une « contribution personnelle » qui n’a pas de commanditaire. Il est de fait un élément « inattendu ». Un élément inhabituel qui n’a d’autres raisons d’être que celles propres à son architecte. Mais justement quelles sont-elles ces raisons ? Pourquoi Le Corbusier a-t-il ressenti le besoin de rajouter un monument au programme de Chandigarh ? A quelle fin ? A la gloire de qui ? En vue de quelle symbolique ? Pourquoi lui-a-t-il donné cette forme ? Pourquoi l’a-t-il fait mobile ? Et pourquoi l’a-t-il placé sur cette esplanade qui relie les bâtiments de l’assemblée et de la justice ? Le travail de recherche ici présenté tente de répondre à toutes ces questions. Il adopte, pour ce faire, une approche génétique qui cherche à comprendre comment se fait la genèse de l’œuvre. Resumen: En diciembre de 1950, se involucra Le Corbusier en el diseño de Chandigarh, la que sería nueva capital del Punjab indio. Como un complemento del proyecto, Le Corbusier integra el monumento de la mano abierta, situado sobre el pozo de la contemplación. Le Corbusier declara, desde el principio, que el monumento de las mano abierta es un "complemento" al programa de Chandigarh, facilitado por "las autoridades". Se trata de una "contribución personal" que nadie ha solicitado. De hecho, es un elemento "inesperado". Un elemento inusual cuya razón de ser obedece al propio arquitecto. Pero cuáles son esas razones? ¿Por qué Le Corbusier sentía la necesidad de añadir un monumento al proyecto de Chandigarh? ¿Con qué fin? Para la gloria de quién? En vista de qué simbolismo? ¿Por qué darle esta forma? ¿Por qué lo hizo móvil? ¿Y por qué razón lo ha colocado en esta plaza que conecta los edificios de la asamblea y de la justicia? Este trabajo de investigación que vamos a presentar trata de responder a todas estas preguntas. Adopta, para ello, un enfoque "genético", en la medida que busca comprender la génesis de la obra. Mots-clés: Main ouverte ; approche génétique ; monument ; archives. Palabras clave: Mano abierta; Enfoque genético; Monumento. DOI: http://dx.doi.org/10.4995/LC2015.2015.1006
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Krajíčková, Aneta. "Změny v managementu kulturního dědictví v důsledku pandemie Covid19." In XXIV. mezinárodního kolokvia o regionálních vědách. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9896-2021-38.
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The Covid19 pandemic has brought a lot of changes to people's lives, and also to the management of individual historical monuments. The aim of this paper is to identify effects of Covid19 pandemic on the daily working of two castles in the South Moravian Region (Lysice State Castle and Rájec nad Svitavou State Castle) and how it affected occupational safety and personnel management, monument security, cultural events, partnerships, marketing, and financial management. Qualitative research is based on interviews with castles’ wardens. The results show that due to the measures and the development of the situation, the pandemic meant above all higher demands on the management of the castles, especially in connection with the organization of cultural events, repairs and staffing. As an important part of management can also be considered the effort to remain in the awareness of the visitors and the associated more intensive use of social networks and a general focus on online tools.
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Garriga Inarejos, Rocío, Pepe Romero Gómez, Jaume Chornet Roig, and Leonardo Gómez Haro. "Puntos de encuentro entre las fallas experimentales y el arte contemporáneo." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9555.
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Desde el Proyecto I+D Aportaciones y apropiaciones mutuas entre las Fallas Experimentales de la ciudad de Valencia y el Arte Contemporáneo, 1998-2018; así como desde la Unidad Mixta de Investigación EFIMERE, que reúne investigadores/as de la UPV y de la UV, estamos elaborando un estudio con el objetivo de reflexionar y hacer visibles los puntos de encuentro existentes entre las fallas experimentales de la ciudad de Valencia y el arte contemporáneo. Con el fin de esclarecer tales conexiones hemos llevado a cabo una serie de entrevistas a personas que participan en las fallas experimentales. La primera cuestión que abordaremos es la problemática relacionada con lo que se entiende por Fallas I+E (Innovación y Experimentación), dado que su definición es vaga y no existe consenso al respecto. Después, tomando como eje el análisis de ese trabajo de campo, así como el estudio de otros documentos, entre ellos Llibrets, tesis doctorales específicas y otras publicaciones históricas relacionadas, reflexionaremos sobre las formas que presentan los monumentos según los materiales, las técnicas, las variables compositivas empleadas y la relación monumento-espacio público así como los motivos críticos que llevan a tomar tales decisiones. Finalmente iremos más allá del monumento y abordaremos los modos en que las comisiones de las Fallas I+E se relacionan con sus creadores: revisando y actualizando las tradiciones de la fiesta, del uso del espacio público y del resto de actividades culturales que en este contexto se generan. El estudio de estas cuestiones pondrá de manifiesto la naturaleza de las relaciones que se dan entre las Fallas I+E y otras propuestas específicas de arte contemporáneo.
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Ferrer Soler, Gaspar. "Casa Dolmen." In 9º Congreso Internacional de Arquitectura Blanca - CIAB 9. València: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/ciab9.2020.10633.
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Ubicada en la ciudad de Alicante, la Casa Dolmen ha sido proyectada en base a una idea clara y rotunda, patente en su formalización volumétrica, su distribución y su materialización, con el objetivo de convertir el espacio en lo verdaderamente trascendente. La casa busca ser percibida como cabaña esencial, compuesta por elementos verticales que soportan una losa horizontal, lo que da lugar a un espacio arquitectónico de una uniformidad absoluta, un “monumento megalítico”, “dolmen” tectónico hecho de “pétreas lajas”. Recuperando y “contemporaneizando” algunos conceptos de la arquitectura clásica, la casa, que es “Templo”, se apoya sobre un pódium, que es “Crepidoma” y elemento de transición entre el terreno natural y el interior de la propia casa. La dualidad que se crea entre el espacio exterior cubierto, generado por una columnata aérea y rítmica en la fachada principal a modo de “loggia”, y el “muro “gordo” trasero, sólido y corpóreo, delimita la secuencia de las estancias principales. A través del hormigón, de sus encofrados y de sus texturas, se propone una arquitectura intemporal y sincera, desnuda y contundente, expresiva y monumental, que se rescata, intencionadamente, de los vaivenes del gusto.
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Slavko Dragović, Magdalena, Aleksandar Čučaković, and Milesa Srećković. "Geometric approach to the revitalization process of medieval Serbian monasteries." In The 13th International Conference on Engineering and Computer Graphics BALTGRAF-13. Vilnius Gediminas Technical University, 2015. http://dx.doi.org/10.3846/baltgraf.2015.009.
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Among the standard approaches concerning cultural heritage preservation, the architectural point of view deserves particular attention. The special place in medieval Serbian history of architecture belongs to the world famous monastery complexes Studenica, Dečani and Gračanica. Beside them numerous significant monuments (churches and monasteries) exist as witnesses of the national testimony, currently in the state of ruins, archaeological sites, or damaged ones. A lot of them have adequate needs for revitalisation, where the start point is engineering documentation. The focus of the research is on the role of specific geometric and engineering graphics tasks when these areas are concerning. Monastery church devoted to Introduction of Holy Theotokos in village Slavkovica (near town Ljig), with three old sarcophaguses, dated back to 15th century, is presented and analysed from several aspects:measuring, architectural style characteristics - geometric design, 3D modelling (classical-CAD and terrestrial photogrammetric) with visualization and presentation.The attention was paid on preservation of authentic architectural style and medieval building techniques, which allow imperfections in realization.The opinion of experienced scientists and specialists involved in all the phases of monument's revitalisation has been followed as a guideline to the final result – a proposed geometric design of the revitalised church in Slavkovica.
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Palacios Aguilar, José del Carmen. "Chandigarh antes de Chandigarh (Cartografía de una idea)." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.639.
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Resumen: La intención es exponer las ideas que llevaron a Le Corbusier a construir su último y único proyecto urbanístico “Chandigarh”;realizar su sueño de construir sobre una ciudad constituida por aquellos elementos prefigurados desde sus libretas, fotografías y textos de sus Viajes a Oriente, 1911 y Sud América, 1929. Le Corbusier encuentra en Chandigarh su ciudad imaginada, aquella configurada en base al constructo de la razón; montañas, paisajes, árboles, cielos, lagos y ríos, etc. y para ello diseñó un mapa en tres dimensiones que contuviese esa razón fundamental de todos sus años de trabajo: “El monumento de la mano abierta” es un lugar donde superpone esa geografía construida (la idealizada con la hallada), diversos dibujos han ido otorgándole en el tiempo esa capacidad de expresar la vocación del tiempo construido . La mano - además de serlo- ya no es más un símbolo o un “signo”, es un mapa topográfico que contiene sus propósitos esenciales. Chandigarh se construye sobre esa “ciudad imaginada” – siendo sus numerosos dibujos de montañas, ríos y lagos cartografiados desde los botes, trenes, y aviones, - Le Corbusier siempre estuvo a esperaba encontrar un lugar que coincidiera y encajara con todas esas condiciones naturales- alegrías esenciales- y ese lugar fue Punjab (India); allí es cuando se eclipsan realmente por primera vez todos sus elementos configurados. Las montañas del Himalaya y el Lago Suknha más que elementos geográficos - que constituyen los límites del proyecto- son esencialmente imprescindibles para comprenderlo. El monumento de la mano abierta se configura como un recurso ideográfico en la obra de Le Corbusier. Abstract: The intention is to present the ideas that led to Le Corbusier to build its latest and unique urban project "Chandigarh", realize his dream of building on a city made up of those elements foreshadowed from his notebooks, photographs and texts of his trips to East 1911 South America 1929. Le Corbusier in Chandigarh discovers his imagined city, that set based on the construct of reason; mountains, landscapes, trees, skies, lakes and rivers, etc. and for this he designed a three-dimensional map that contained the fundamental reason for all his years of work: "The monument open hand" is a place where overlaps that built geography (the idealized with found), various drawings have been giving at the time that ability to express the vocation of time built. Besides hand the be-is no longer a symbol or a "sign" is a topographic map containing the essential purposes. Chandigarh is built on the "imagined city" - remains his numerous drawings of mountains, rivers and lakes mapped from boats, trains, and planes - Le Corbusier was always expected to find a place to coincide and fit with all those naturales- conditions essential- there was joy and Punjab (India); that's when all set items are really overshadow first. Himalaya Mountains and Lake Suknha than geographic features - which form the boundaries of the project are essentially necessary to understand it. The open hand monument is configured as an ideographic resource in the work of Le Corbusier.Palabras clave: constructo, dibujos, viajes, publicaciones, mano abierta. Keywords: Construct, Drawings, Travels, Publications, Open Hand. DOI: http://dx.doi.org/10.4995/LC2015.2015.639
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López Fernández, Santiago. "Posibilidades para un recital en una ciudad poscomunista. Entropología sonora en el “Tigre de los Tatra”." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4567.
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A principios de los años 90, los antiguos países comunistas del centro y este europeo sufrieron el desmoronamiento de la economía centralizada tras la caída del muro de Berlin y comenzaron la transición hacia la liberalización. El fracaso del socialismo internacional contra el capitalismo democrático haría devenir el fin de la guerra fría y asentaría el desarrollo del mundo globalizado. Esta pieza artística se emplaza en los que fue la República Socialista Eslovaca y que a principios de los años 2000 se le denominó “El Tigre de los Tatra”, una serie de tres conciertos de carácter site-specific donde se intervienen los restos de las estructuras en estado de abandono de tres espacios de la era socialista en la ciudad de Trenčín que de forma simbólica evocan a los iconos del socialismo, la hoz (la intervención en la estructura de un campo de lúpulo), el martillo (la intervención en una fábrica) y la estrella roja (la intervención de los tendederos de un microdistrito socialista). Haciendo referencia al trabajo de Robert Smithson se hace uso del término “entropía” el cual en su obra tiene que ver con el concepto de tiempo, con el pasado y el futuro. Este cambio, en el contexto particular de la Checoslovaquia comunista donde se ensalzaban los valores e iconos del folk y del nacionalismo, hacia la cultura y economía globalizada de mercado, ha generado la sociedad del desecho, de espacios postindustriales de carácter monumental cargados de entropía que pueden ser reciclados de forma contínua mediante intervenciones artísticas efímeras. En este caso el reciclaje fugaz de estos espacios de la sociedad de consumo se traduce en intervenciones sonoras sobre los vestigios del pasado que se convierten instantáneamente en “monumentos del futuro”.http://dx.doi.org/10.4995/ANIAV.2017.4567
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Ponce Gregorio, Pedro. "La forme du temps à Moscou." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.582.
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Resumen: Sería el 2 de septiembre de 1931, mediante carta privada remitida por un tal B. Breslow en calidad de Representante Comercial de la URSS en Francia, cuando Le Corbusier recibe la invitación a participar en el concurso del que sería para muchos el edificio esencial del país, el Palacio de los Soviets de Moscú. Un edificio que en consecuencia, además de encarnar la voluntad de las masas trabajadoras rusas, debía convertirse de manera análoga, allí donde ya se hallaba construida la catedral de El Salvador, en el monumento artístico-arquitectónico de la todavía maltrecha capital soviética. Este y no otro es el punto en el que la presente «forma del tiempo» se inscribe: en el continuo devenir que el proyecto desarrolla dentro del número 35 de la rue de Sèvres de París, a fin de desempolvar parte de aquel rastro creativo velado por la historia, esto es, desandar la línea de los Soviets. Abstract: It was around september the second, 1931, on a private letter dispatched by some B. Breslow acting as Comercial Representative of the URSS in France, when Le Corbusier received the invitation to participate in the contest of the one that would be for many the essential building of the country, the Palace of the Soviets in Moscow. A building that for that matter would not only enbodies russian´s working class will, but also should become in the same way, there where the El Salvador cathedral was built, the artistic-architectural monument of the still struggling soviet capital. This and not else is the point in which the actual "shape of the time" it is enrolled: on the developed by the project inside the number 35 of the rue de Sèvres in Paris, in order to dust off part of that creative trace veiled by history, this is, to walk back along the line of the Soviets. Palabras clave: Tiempo; composición; simbología; circulación; técnica; Palacio de los Soviets. Keywords: Time; composition; symbology; circulation; technique; Palace of the Soviets. DOI: http://dx.doi.org/10.4995/LC2015.2015.582
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Jaramillo Morilla, A., E. J. Mascort Albea, and J. Ruiz Jaramillo. "Seismic microzoning maps for restoration of monuments in Seville: Nuestra Señora de los Reyes Convent." In REHAB 2014 - International Conference on Preservation, Maintenance and Rehabilitation of Historical Buildings and Structures. Green Lines Institute for Sustainable Development, 2014. http://dx.doi.org/10.14575/gl/rehab2014/094.
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Krupa, Martin. "RESTORATION AND CREATION OF PARTS OF THE LOST BUILDING DOCUMENTATION OF AN ARCHITECTURAL MONUMENT USING MODERN TECHNOLOGIES AND THEIR COMPARISON." In 17th International Multidisciplinary Scientific GeoConference SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgem2017/22/s09.070.
Full textReports on the topic "Lost monuments"
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Bogan, M. A., T. J. O`Shea, P. M. Cryan, A. M. Ditto, W. H. Schaedla, E. W. Valdez, K. T. Castle, and L. Ellison. A study of bat populations at Los Alamos National Laboratory and Bandelier National Monument, Jemez Mountains, New Mexico: FY95--97 report to Los Alamos National Laboratory and Bandelier National Monument. Office of Scientific and Technical Information (OSTI), December 1998. http://dx.doi.org/10.2172/296873.
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Jarmie, N., and F. J. Rogers. A survey of macromycete diversity at Los Alamos National Laboratory, Bandelier National Monument, and Los Alamos County; A preliminary report. Office of Scientific and Technical Information (OSTI), November 1997. http://dx.doi.org/10.2172/563252.
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Banar, Alethea K. Los Alamos National Laboratory 2018 Monitoring Season for storm water and atmospheric deposition samples from Bandelier National Monument under Permit # BAND-2018-SCI-0006 - 2018 Monitoring Season Summary. Office of Scientific and Technical Information (OSTI), February 2019. http://dx.doi.org/10.2172/1495121.
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Effects of Wildfire on the Hydrology of Capulin and Rito de los Frijoles canyons, Bandelier National Monument, New Mexico. US Geological Survey, 2002. http://dx.doi.org/10.3133/wri20024152.
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