infrastructural-monument

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Infrastructural Monument presents the proceedings of the first of two conferences organized by MIT's new Center for Advanced Urbanism around the biennial theme of infrastructure. Held in the spring of 2013, the "Infrastructural Monument" conference gathered designers, developers, policy experts, and scholars to address the potential to leverage infrastructure design beyond the realm of transportation of goods and labor into the realm of culture, public space, architecture, and landscape form. In other words, can infrastructure transcend mere practicality and fulfill a role that is profoundly cultural? Can targeted infrastructure projects transform a city from a collection of fragments to one with a common and cohesive regional identity?

This study is a broad cultural history of Russian war monuments in the twentieth century. It provides a unique analysis of the importance of war in Russian and Soviet cultural history and contributes to scholarship on the historical context of contemporary Russian politics and culture.--Karen Petrone, University of Kentucky

Scaling Infrastructure presents the proceedings of the second and final conference of MIT's Center for Advanced Urbanism biennial theme of infrastructure. The conference brought together political leaders, engineers, designers, and academics to investigate how critical the issues of appropriate infrastructural investments and scales have become to the future of urbanized territories when faced with new economic, political, and environmental challenges. This companion volume to Infrastructural Monument explores the phenomenon of growing and shrinking cites in response to population shifts. How do we deal with cities like Detroit, whose once thriving population and economy have been drastically reduced, leaving a city built for a large capacity to adjust to this decline? Or how do cities grow quickly in response to greater demands for housing and transportation?

The twentieth century was the most destructive in human history, but from its vast landscapes of ruins was born a new architectural type: the cultural monument. In the wake of World War I, an international movement arose which aimed to protect architectural monuments in large numbers, and regardless of style, hoping not only to keep them safe from future conflicts, but also to make them worthy of protection from more quotidian forms of destruction. This movement was motivated by hopeful idealism as much as by a pragmatic belief in bureaucracy. An evolving group--including architects, intellectuals, art historians, archaeologists, curators, and lawyers--grew out of the new diplomacy of the League of Nations. During and after World War II, it became affiliated with the Allied Military Government, and was eventually absorbed by the UN as UNESCO. By the 1970s, this organization had begun granting World Heritage status to a global register of significant sites--from buildings to bridges, shrines to city centers, ruins to colossi. Examining key episodes in the history of this preservation effort--including projects for the Parthenon, for the Cathedral of St-Lô, the temples of Abu Simbel, and the Bamyian Buddahs --Lucia Allais demonstrates how the group deployed the notion of culture to shape architectural sites, and how architecture in turn shaped the very idea of global culture. More than the story of an emergent canon, Designs of Destruction emphasizes how the technical project of ensuring various buildings' longevity jolted preservation into establishing a transnational set of codes, values, practices. Yet as entire nations' monumental geographies became part of survival plans, Allais also shows, this paradoxically helped integrate technologies of destruction--from bombs to bulldozers--into cultural governance. Thus Designs of Destruction not only offers a fascinating narrative of cultural diplomacy, based on extensive archival findings; it also contributes an important new chapter in the intellectual history of modernity by showing the manifold ways architectural form is charged with concretizing abstract ideas and ideals, even in its destruction.

Introduction : The paver of modern life -- Drowned town fiction : the poetics of large dams -- The materiality of the road in the "road movie" -- Oil and photography -- Death train narratives -- Conclusion : Infrastructural brutalism and brisantic politics.

This interdisciplinary book brings into dialogue research on how different fluids and bodies of water are mobilised as liquid ecologies in the arts in Latin America and the Caribbean. Examining the visual arts, including multimedia installations, performance, photography and film, the chapters place diverse fluids and systems of flow in art historical, ecocritical and cultural analytical contexts. The book will be of interest to scholars of art history, cultural studies, environmental humanities, blue humanities, ecocriticism, Latin American and Caribbean studies, and island studies.

With reference to India.

Contributed articles.

Southern Colorado’s unique Great Sand Dunes rise to a height of 750 feet above the San Luis Valley floor and are the nation’s highest dunes not adjacent to an ocean or lake. The sweeping dunes were protected as a national monument in 1932 and as a national park in 2000. From prehistoric hunter-gatherers to the historic Ute Indian tribe, inhabitants have long used the resources of the land around the dunes. Zebulon Pike was the first American explorer to witness the dunes in 1807, followed by a long procession of other explorers, ranchers, and miners. Today, visitors from around the world come to climb up and slide down the dunes in Great Sand Dunes National Park and Preserve.

The Present Book Is First Of Its Kind In Tourism Discipline In Central India And It Will Be Very Useful For All Those Who Are Working In Various Fields Of Tourism, Planning, Management And Hospitality Sectors.

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This book examines the relationship between the fine arts and economics —the contribution of various art forms toward economic growth and development, and the impact of economic factors on the creation of art.Xavier Greffe identifies the economic factors that can affect the emergence, flourishing, and disappearance of artistic activities. He begins with an analysis of the artistic markets where the players cannot be measured by standard economic yardsticks. The cast of characters include users who are initially unaware of the kind of satisfaction they can gain from unknown works of art, producers who do not know whether their upfront costs in the commissioning of new art and design will be covered, and the artists who are more interested in letting the creative muse guide their endeavors than in creating specifically defined works on demand. The book then explores the various dynamics that influence the development of the artistic sector: a revolving compromise between heritage and creation; a continuous passage between an original work of art and the products of cultural industries; and a permanent shift between profit and nonprofit institutions.Greffe provides a way to evaluate art from an economic perspective —that explains both the creation and development of creative movement, without judging the existence of works of art only in terms of economic logic.

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