Monuments In The Making

Dolmens are iconic international monumental constructions which represent the first megalithic architecture (after menhirs) in north-west Europe. These monuments are characterised by an enormous capstone balanced on top of smaller uprights. However, previous investigations of these extraordinary monuments have focussed on three main areas of debate. First, typology has been a dominant feature of discussion, particularly the position of dolmens in the ordering of chambered tombs. Second, attention has been placed not on how they were built but how they were used. Finally much debate has centred on their visual appearance (whether they were covered by mounds or cairns). This book provides a reappraisal of the ‘dolmen’ as an architectural entity and provides an alternative perspective on function. This is achieved through a re-theorising of the nature of megalithic architecture grounded in the results of a new research/fieldwork project covering Britain, Ireland and Scandinavia. It is argued that instead of understanding dolmen simply as chambered tombs these were multi-faceted monuments whose construction was as much to do with enchantment and captivation as it was with containing the dead. Consequently, the presence of human remains within dolmens is also critically evaluated and a new interpretation offered.

Stonehenge, Machu Picchu, Confederate statues, Egyptian pyramids, and medieval cathedrals: these are some of the places that are the subject of Making Sense of Monuments, an analysis of how the built environment molds human experiences and perceptions via bodily comparison. Drawing from recent research in cognitive neuroscience, psychology, and semiotics, Michael J. Kolb explores the mechanics of the mind, the material world, and the spatialization process of monumental architecture. Three distinct spatial-cognitive metaphors—time, movement, and scale—comprise strands of knowledge that when interwoven create embodied contours of meaning of how human interact with monumental spaces. Comprehensive, lucidly written, and thoroughly illustrated, Making Sense of Monuments is a vibrant, extraordinary journey of the monuments we have constructed and inhabited.

In this book we offer an exciting new perspective on a distinctive form of megalithic monument that is found across most areas of northern Europe. In order to achieve this we have abandoned outmoded typological classifications and reintroduced the term ‘dolmen’ to embrace a range of sites that share a common form of megalithic architecture: the elevation and display of a substantial stone. By critically assessing the traditionally assigned role of these monuments and their architecture as megalithic tombs, the presence of the dead is reassessed and argued to form part of a process generating vibrancy to the materiality of the dolmen. As such this book argues that the megalithic architecture identified as a dolmen is not a chambered tomb at all but instead is a qualitatively different form of monument. We also provide an entirely different conception of the utility of this extraordinary megalithic architecture – one that seeks to emphasize its building as articulating discourses of wonder as a broad social strategy. In this respect it is important to remember that many of these monuments were erected very early in the Neolithic and as a consequence of new people entering new lands, or social transformation. In short, dolmens are monumental constructions employing experimental and emergent technologies to raise huge stones, which, once built, enchant those who come within their spaces. Our claim is that dolmens were megalithic installations of affect, magical and extraordinary in construction and strategically positioned to induce both drama and awe in their encounter.

Examining how monuments preserve memory, these essays demonstrate how phenomena as diverse as ancient drum towers in China and ritual whale killings in the Pacific Northwest serve to represent and negotiate time.

In many societies monuments are associated with dynamic socio-economic and political processes that these societies underwent and/or instrumentalised. Due to the often large human and other resources input involved in their construction and maintenance, such constructions form an useful research target in order to investigate both their associated societies as well as the underlying processes that generated differential construction levels. Monumental constructions may physically remain the same for some time but certainly not forever. The actual meaning, too, that people associate with these may change regularly due to changing contexts in which people perceived, assessed, and interacted with such constructions.These changes of meaning may occur diachronically, geographically but also socially. Realising that such shifts may occur forces us to rethink the meaning and the roles that past technologies may play in constructing, consuming and perceiving something monumental. In fact, it is through investigating the processes, the practices of building and crafting, and selecting the specific locales in which these activities took place, that we can argue convincingly that meaning may already become formulated while the form itself is still being created. As such, meaning-making and -giving may also influence the shaping of the monument in each of its facets: spatially, materially, technologically, socially and diachronically.This volume varies widely in regional and chronological focus and forms a useful manual to studying both the acts of building and the constructions themselves across cultural contexts. A range of theoretical and practical methods are discussed, and papers illustrate that these are applicable to both small or large architectural expressions, making it useful for scholars investigating urban, architectural, landscape and human resources in archaeological and historical contexts. The ultimate goal of this book is to place architectural studies, in which people's interactions with each other and material resources are key, at the crossing of both landscape studies and material culture studies, where it belongs.

From the award-winning, bestselling author of Skyscrapers, Churches, and Bridges comes a stunning visual history that serves as a tribute to classic American landmarks.

Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making, and all are dedicated to exploring the conditions and potentials of human life. In this exciting book, Tim Ingold ties the four disciplines together in a way that has never been attempted before. In a radical departure from conventional studies that treat art and architecture as compendia of objects for analysis, Ingold proposes an anthropology and archaeology not of but with art and architecture. He advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or ‘correspond’, with one another in the generation of form. Making offers a series of profound reflections on what it means to create things, on materials and form, the meaning of design, landscape perception, animate life, personal knowledge and the work of the hand. It draws on examples and experiments ranging from prehistoric stone tool-making to the building of medieval cathedrals, from round mounds to monuments, from flying kites to winding string, from drawing to writing. The book will appeal to students and practitioners alike, with interests in social and cultural anthropology, archaeology, architecture, art and design, visual studies and material culture.

'Why should Truth be a woman? Or Nature? Or Justice? Or Liberty? Not, certainly, because women have been more free, just, truthful, nor even (though this one has a double edge) more natural. Marina Warner sets out to breathe some life into the army of petrified personages that litters western cityscapes... As her book shows, these stony ladies can be persuaded to yield surprisingly interesting answers' - Lorna Sage, Observer An entertaining and enlightening book about the relationship between allegory and female form from one of the great feminists and cultural historians of our time, Marina Warner.