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Vujosevic, Tijana. "Architectures of the everyday in 1920s and 1930s Russia." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61555.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 212-221).<br>This dissertation is an architectural history of Russian everyday life, or byt, in the first two decades after the October Revolution. In this period, the investigation and reform of byt was a project that vastly crossed the limits of the architectural profession. I survey ways in which the quotidian environment was understood, ordered and envisioned in a variety of practices: bureaucracy, literature, theatre, film, urbanism, and design. The dissertation explores the architecture of discrete geographies, sets of tactics and strategies, employed in mapping the terrain of the quotidian. It explores how the official rhetoric of labor and productivity was translated into ethics and aesthetics of existence. The study is ordered chronologically, and according to scale. In the first chapter I explore the manipulation and invention of the everyday object. The second chapter is about the performance of the everyday in Meyerholds's biomechanical theatre, its ties with the Central Institute of Labor, and the charting of the agitated body in action onto the space of the stage. The third chapter captures a moment in the development of the Soviet bathhouse, or banya, , in which the bath, resembling a factory, was conceived of as an efficient, working building, which processed citizens' bodies in their entirety, and in some cases, presented replicas of the world at large. In the fourth chapter I read collective workers' histories to reconstruct the aesthetic of the Moscow Metro and particular modes of perception needed to capture and behold its magnificence. The final chapter is about the efforts of wife-activists, or obshchestvennitsy, to represent a society of surplus and overproduction through their management of nature's bounty.<br>by Tijana Vujosevic.<br>Ph.D.
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Mei, Qing. "Houses and settlements returned overseas Chinese architecture in Xiamen, 1890s-1930s /." online access from Digital dissertation consortium, 2003. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3113444.
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Chibireva, Natalia. "Architecture, ideology and order : the idea of the classical in 1930s architecture and Nazi spatial strategies." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391395.
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Edwards, Bronwen. "Making the West End modern : space, architecture and shopping in 1930s London." Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/2299/.
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This research explores the shopping cultures of the 1930s West End, arguing for the recognition of this as a significant moment within consumption history, hitherto overlooked in favour of the Victorian and Edwardian periods. The approach is interdisciplinary, combining in a new way studies of shopping routes and networks, retail architecture, spectacle, consumer types and consumption practices. The study first establishes the importance of shopping geographies in understanding the character of the 1930s West End. It positions this shopping hub within local, national and international networks. It also examines the gender and class-differentiated shopping routes within the West End, looking at how the rise of new consumer cultures during the period reconfigured this geography. In the second section, a case study of two new Modern shops, Simpson Piccadilly and Peter Jones, provides the focus for a discussion of retail buildings. Architecture is presented as an important way in which the West End was transformed and modernity articulated. Modernism was a significant arrival in the West End's retail sector: it provided a new architectural approach with a close, if often problematic, relationship with shopping. The study thus reassesses common assumptions about the fundamental irreconcilability of modernism with consumption, femininity and spectacle. The third section makes a more detailed examination of the staging of shopping cultures within the West End street, looking at window display, the application of light and decoration to facades, and participation in pageantry. The study thus revisits retail spectacle, an important strand within histories of shopping and of the urban, looking at how established strategies were adapted and developed to stage modernity, emerging consumer cultures and the West End itself during the 1930s.
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Christ, John X. 1974. "Painting a theoretical world : Stuart Davis and the politics of common experience in the 1930s." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28806.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.<br>Includes bibliographical references (leaves 272-281).<br>(cont.) relationship with American Scene painting. His engagement with these themes suggests that the pictorial reorganization of spatial experience that anchored his practice as a socially engaged artist is inextricably bound to the politics of place.<br>This dissertation examines Stuart Davis's paintings of the 1930s in relation to his conviction that art could transform reality by extending and reordering the spatial dimensions of common experience. While Davis's enthusiastic involvement with Marxism had a significant impact upon the development of his ideas during the thirties, his reception of liberal aesthetic theory, as exemplified in the writings of the philosopher John Dewey, played a more fundamental role in his understanding of the social function of art. By situating Davis's activities within the context of other artists and intellectuals who sought to rebuild public life through the aesthetic organization of common experience, Davis's strong political convictions are brought together with his abstract art within an integrated interpretive framework. He described cubism as an extension of the realist tradition that could express his reactions to the modem environment and in so doing offer a conceptual model to guide future action. Through a complex and not always consistent theoretical rationale, he related the formal structure of his paintings to their ability to communicate his vision of common experience to a broad audience without violating the logic of two-dimensional design. The social and political value of aesthetically reordering common experience was understood by many between the World Wars to reside in art's capacity to facilitate the formation of a shared national identity and cultural discourse. The profound geographic and spatial transformations associated with modernity played a crucial role in this conception of identity. Davis's contributions to these issues is examined in relation to his understanding of the internationalism of his modernist art and his complex<br>by John X. Christ.<br>Ph.D.
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Hann, Rachel Nicole. "Computer-based 3D visualization for theatre research : towards an understanding of unrealized utopian theatre architecture from the 1920s and 1930s." Thesis, University of Leeds, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540209.
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Strabucchi, Chambers Wren Christopher. "Culture as picture and project : the 'city' of EUR : the formation of the concept museum-city in the Italian architecture of the 1930s." Thesis, University of Cambridge, 2001. https://www.repository.cam.ac.uk/handle/1810/251762.
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Mikkonen, Tuija. "Corporate architecture in Finland in the 1940s and 1950s : factory building as architecture, investment and image /." [Helsinki] : Finnish Acad. of Science and Letters, 2005. http://www.loc.gov/catdir/toc/fy0708/2005530488.html.
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Speaks, Elyse Marie Deeb. "The architecture of reception : sculpture and gender in the 1950s and 1960s /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174676.
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Andersson, Helen, and Louise Granudd. "How much does architecture affect the willingness to pay? - A comparison between 1970s and 1920s architecture and its impact on today’s architecture." Thesis, KTH, Fastigheter och byggande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-191301.
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If you ask any person for his opinion about "miljonprogrammet", most would answer that it is the largest architectural failure in modern times. The housing shortage meant that numerous buildings had to be built quickly and the architecture was neglected. Today there is again a significant housing shortage, and the need to build many homes have quickly become a political priority issue. These homes should preferably be as cheap as possible. The risk is great that we in 50 years will view these buildings in a similar way that we look at the "miljonprogrammet" today. If we instead turn to the houses that were built in the 1920s these are still considered to be very beautiful and classic tastefulness. This type of house should be easy to replicate by simply building classic houses with pitched roof, simple details above windows and doors with a one-colored plaster facade. This work has been carried out in order to avoid falling into the same situation again. The aim was to prove that there is an increased willingness to pay for houses built around the 1920s. By proving that this is the case, we hope that the houses being built in the future will return to this classic tastefulness architecture which we believe will provide a more sustainable cityscape. The result has been obtained by several independent t-tests of sales in Södermalm and Östermalm, in central Stockholm, during the past five years. Interviews with architects, brokers and construction companies have also carried out to obtain a broader base and to see how professionals in the industry look at the issue. Literature has been used for further theoretical background. The conclusion has been obtained by compiling samples and interviews. The result was that there is a strong significant difference in the willingness to pay of properties built during the "miljonprogrammet" versus 1920. Where the 1920s houses sold for a much higher price.<br>Frågar man valfri person efter dennes åsikt angående miljonprogrammet skulle de flesta svara att det är det största arkitektoniska misslyckandet i modern tid. Bostadsbristen medförde att mycket skulle byggas fort och arkitekturen kom i skymundan. Idag råder det återigen stor bostadsbrist och behovet av att bygga många bostäder snabbt har blivit en politisk huvudfråga. Dessa bostäder ska helst också bli så billiga som möjligt. Risken är stor att vi om 50 år kommer se på dessa byggnader som man ser på miljonprogrammet idag. Ser man istället till husen som byggdes under 1920-talet anses dessa fortfarande vara väldigt vackra och klassiskt stilrena. Tjugotalshusen borde vara enkla att återskapa genom att bara bygga klassiska hus med sadeltak, få enkla detaljer över fönster och dörrar samt med en enfärgad putsfasad. Det här arbetet har genomförts för att undvika att hamna i samma situation en gång till. Syftet var att bevisa att det finns en ökad betalningsvilja för hus byggda kring 1920-talet. Genom att bevisa att så är fallet hoppas vi att de hus som byggs i framtiden kommer återgå mot denna klassiskt stilrena arkitektur. Detta tror vi kommer ge en mer långsiktigt hållbar stadsbild. Resultatet har fåtts genom en sticksprovsstudie av överlåtelser på Södermalm och Östermalm, i Stockholms innerstad, under de senaste fem åren. Intervjuer med arkitekter, mäklare och byggbolag har även genomförts för att få en bredare bas och för att se hur yrkesverksamma i branschen ser på frågan. Litteratur har använts för vidare teoretisk bakgrund. Slutsatsen har fåtts genom en sammanställning av stickproven och intervjuerna. Resultatet blev att det finns en stark signifikant skillnad i betalningsvilja mellan fastigheter byggda under miljonprogrammet kontra 1920-talet. Där 1920-talshusen såldes för ett betydligt högre pris.
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Rocha, Daniella Medeiros Moreira. "A pioneira arquitetura dos hotéis art déco de Goiânia - décadas de 1930 e 1950." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3279.
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Previous issue date: 2013-07-21<br>This research seeks to highlight the history of architecture in Goiania, and its protected architectural heritage (historical and artistic), under art deco style look, which was manifested in hotel edifications of Goiania, in 1930 and 1940, and lately, in 1950, representing, at the time, a symbol of modernity. More specifically, it is a study of the three pioneering hotels with this style: Palace Hotel, Grand Hotel and Hotel Don Bosco. The study delimitation consisted on investigating the objects in three periods: at construction; at some of their most significant moments; at present days.
Methodological proposal was based upon bibliographical and documental surveys, oral interviews, photographic survey, original plants and descriptive memorials surveys, updated architectural and photographic surveys, for composition of records, as well as descriptions and analysis of art deco modernity, under the following criteria: party and architectural program, volumetry and facades, materials, techniques and indoors. In bibliographical research were used references pertinent to the history of art, history of art deco, history of Goiania and considerations on the question of heritage.
As to documentary research, the public agencies related with were: Institute of Historical and Artistic Heritage (IPHAN), the Board of Historical and Artistic Heritage, the Board of the Image and Sound Museum (MIS), both of the Agency of Culture Pedro Ludovico Teixeira in Goiania (AGEPEL), the Heritage Division of the Municipal Secretary of Culture, the Municipal Secretary of Sustainable Urban Development (SEMDUS) and its historical archives. The testimonies were collected by oral interviews of personae who were part of the story of the people of Goiania.<br>Esta pesquisa procura evidenciar a história da arquitetura de Goiânia e do seu acervo arquitetônico tombado (histórico e artístico) pelo viés do estilo art déco, que se manifestou nas edificações hoteleiras goianienses nas décadas de 1930 e 1940 e, mais tardiamente, em 1950, representando, à época, um símbolo de modernidade. Mais especificamente, constitui um estudo dos três hotéis pioneiros nesse estilo: o Palace Hotel, o Grande Hotel e o Hotel Dom Bosco. A delimitação do estudo consistiu em investigar o objeto em três tempos: no momento inicial da sua construção; alguns de seus momentos mais significativos; e os seus dias atuais. A proposta metodológica foi a do levantamento bibliográfico e documental, entrevistas orais, levantamento fotográfico, levantamento de plantas originais e memoriais descritivos, levantamentos arquitetônicos e fotográficos atualizados, para composição de registros, descrições e análise da modernidade do art déco a partir dos seguintes critérios: partido e programa arquitetônico, volumetria e fachada, materiaise técnicas e interiores. Na pesquisa bibliográfica foram utilizadas referências pertinentes à história da arte, à história do art déco, história de Goiânia e considerações sobre a questão do patrimônio. Quanto à pesquisa documental, os órgãos públicos relacionados foram: Instituto do Patrimônio Histórico e Artístico (IPHAN), a Diretoria do Patrimônio Histórico e Artístico, a Diretoria do Museu da Imagem e Som (MIS), ambas da Agência Goiana de Cultura Pedro Ludovico Teixeira (AGEPEL), a Divisão de Patrimônio Histórico da Secretaria Municipal de Cultura, Secretaria Municipal de Desenvolvimento Urbano Sustentável (SEMDUS) e arquivos históricos. Os depoimentos foram coletados por entrevista oral de personagens que fizeram parte da história goianiense.
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Kallipoliti, Lydia. "Mission galactic household| The resurgence of cosmological imagination in the architecture of the 1960s and 1970s." Thesis, Princeton University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3560318.
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<p>This dissertation traces a resurgent cosmological imagination in the architecture of the 1960s and 1970s. It documents how the exploration of outer space fueled a radical ecological architectural debate that addressed the reinvention of the household and domestic economy, as both a scientific and an ontological project. I am arguing that in the anticipation of a cosmic view and the search for our coordinates in the universe, there was a disciplinary inflation of previous perceptions of habitation, amplifying the household to an interplanetary organism that can capture the immensity of the cosmos and the obscure density of living systems. </p><p> Reflecting the spectacle of a finite “spaceship-earth,” previous concepts of nature’s flawless preservation, as separated from the urban milieu, engendered a novel naturalism of artificial ecology, where the functions and operations of nature were copied as precise analogues in man-made systems. At this time, the space program played a fundamental role in the reformation of the building industry, effectively adopting, rationalizing and simulating nature’s operations in the cautious cycling of provisions. The potential for conversion of all waste materials into useful ones became eminently important, as a means of survival within the enclosed space of the spacecraft. However, NASA’s experiments were not only evoking unearthly fictions; they were a catalyst for re-thinking transformed social and technical relationships as architectural problems, particularly in the domestic sphere. The space program, as a paradigm of reinventing habitation in extreme physiological conditions and instrumentalizing human agency in terms of input and output invoked an ecological sense of inhabiting the world, as seen in houses equipped with digesters, hydroponic systems, composting devices, solar components and wind generators. The projection of humanity to outer space gestated a new type of a recirculatory house, a cybernetic laboratory that can reproduce the ecosystem in its totality in smaller closed systems. </p><p> In light of this lineage, my study explores the critical intersection between ecology, cybernetics and experimentation with materials and building processes. Bringing this discussion to face contemporary debates, it is worthwhile to observe that two major peripheral areas of the architectural discipline—computation and sustainability—that are considered in almost all cases as disjunctive or irrelevant fields stem from equivalent epistemological aspirations and converged at a time when cosmological imagination (and the idea of leaving the earth) was a core disciplinary preoccupation. </p>
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Khoo, Evelyn. "Under the arch of friendship culture, urban redevelopment and symbolic architecture in D.C. Chinatown, 1970s-1990s /." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9377.
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Thesis (M.A.) -- University of Maryland, College Park, 2009.<br>Thesis research directed by: Dept. of History. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Pasholok, Maria. "Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
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This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
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Fusinpaiboon, Chomchon. "Modernisation of building : the transplantation of the concept of architecture from Europe to Thailand, 1930-1950s." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/5698/.
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Conventional studies consider the transplantation of Modern Architecture from Europe and North America to non-western contexts as a one-way imposition with little adaptation, if any. This research goes beyond the importation of ‘Modern Architecture’ to Thailand by fundamentally questioning the concept of ‘Architecture’ in Thai society between the 1930s and 1950s when it was transplanted for the first time from Europe to Thailand. By analysing archival materials and case studies in relation to their socio-political contexts, the transplantation of the concept of Architecture from Europe to Thailand is treated as an interactive and non-hierarchical process, involving translation, reinterpretation, and transformation. The thesis argues that the transplantation of the concept of ‘Architecture’ was a systematic yet complex and hybrid process that modernised the traditional concept of ‘building’ as perceived in Thai society. This process reassured the Thai elite that Thailand, the only country in Southeast Asia never to have been colonised by any western power, was a civilised country. At the same time, traditional practices, rituals, and beliefs, related to buildings, were not completely eliminated but were transformed and mingled with ‘Architecture’. Accordingly, the modern concept of ‘Architecture’ modernised the traditional concept of ‘building’ but the latter also indigenised the former in many respects. By examining the transplantation of the concept of ‘Architecture’ previously unknown in Thailand, the thesis questions the complex concept of modernity in architecture even before the presence of the Modern Movement. More broadly, it also questions the dichotomy between western/modern and non-western/traditional in transcultural modern architecture.
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Shih, Huei-Mei. "An overview of Cochin ceramics in Taiwan with an emphasis on the influence of Hong Kun-Fu and his school 1910s to 1980s /." Access electronically, 2008. http://ro.uow.edu.au/theses/148.
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Cravo, João Manuel Castela. "A arquitectura ecléctica portuguesa-1890-1930." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1998. http://dited.bn.pt:80/29883.
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El, Hayek Chantal. "The last Levantine City : Beirut, 1830-1930." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/99273.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2015.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 74-83).<br>My thesis examines the urban transformation of Beirut between 1830 and 1930. Evolving from a local market city importing European goods and exporting local produce into a transit city for the re-export of European commodities, Beirut developed from a quadrilateral of thick crusader walls enclosing a labyrinth of narrow streets into a modem commercial center highlighted by the French-designed Place de l'Étoile. The new center connected the city with the port and with its hinterland through two major thoroughfares lined up with modem office buildings that, for the first time, accommodated underground storage spaces. My core questions are: What made Beirut develop in this direction? Why were the markets centered the way they were? I argue that the urban transformation of Beirut in the nineteenth century through World War I was a manifestation of a French imperial policy that had been at play a century before the French Mandate. Seeking to extend infrastructural networks, France saw Beirut, particularly through its port, as an economic base that would facilitate trade with the region. 'Beirut al- Jadida' (New Beirut) was ultimately created to provide a gateway for France to regain access into the region after an era of decline in French economic dominance in the Levant, in the wake of the Napoleonic Expedition into Egypt and Syria (1798-1801) and the abrogation of the Achelles du Levant system of trade by Ahmad Pasha Al-Jazzar (r. 1775-1804). In the second half of the nineteenth century, with the expansion of the port (1887-1890) and the construction of the carriageway (1857-1863) and railroad (1895) between Beirut and Damascus, French dominance rose once again-this time in a new political (colonial) form. The French agent intervening in the development of Beirut evolved from it being a financial investor-through private companies sponsoring the silk industry and other trades-in the early nineteenth century, to a major concession holder of various public works in the mid- to late-nineteenth century after the silk trade with the Levant had declined, to a military colonizer in the early twentieth century, when French economic dominance became a governmental pursuit no longer restricted to the operations of private businesses. My thesis seeks to explore how the change over time in economic and political activities, and in the interests of the colonizers in both the pre-colonial and colonial periods, was reflected in urban design and planning of the city. In my work, I propose a framework of analysis that sees the nineteenth- and early-twentieth- century development of Beirut as a continuous process of modernization and engagement with the international economic system in which both the Ottomans and French were invested, contrary to a significant number of scholarly works that tended to partition the city's history into two separate historical narratives tied to the two governing regimes.<br>by Chantal El Hayek.<br>S.M.
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Fredriksson, Mats. "Isak Gustaf Clasons herrgårdsrestaureringar 1888–1930." Licentiate thesis, KTH, Skolan för arkitektur och samhällsbyggnad (ABE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-228300.
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Manor house restorations by isak Gustaf Clason 1888–1930 Swedish architect Isak Gustaf Clason (1856–1930) was the leading expert of his time for the conservation of manor houses and also for designing new manor houses and large villas. He was considered a leader for the architectural community and worked with many different types of building projects. He was also a professor of architecture and held important positions in the national building administration. Most of Clason’s energy, however, was focused on manor houses. These often uncomfortable, sometimes abandoned, houses were transformed into comfortable, prestigious, luxury homes for the economic elite of the time. This study aims to answer questions about how Clason developed his restoration practice throughout his career, how he evaluated the old buildings and what defined the goals in his projects. Other questions include: who were his clients? Why did they choose Clason? How did the designs evolve, and how did they relate to the general architectural ideals of the time? A Clason manor house project had a consistent design with historical references and, at the same time, it provided for a comfortable and modern home according to English ideals. He used a restrained design and worked to harmonize facades, volumes and interiors. In order to execute such a program, much of the existing character of the house could be lost. After 1900 the discussion of architectural conservation turned towards preserving historic houses, which led to criticism of Clason’s rather invasive methods. The ideology for architectural conservation shifted as specialists in conservation and art history were becoming more important. Clason gradually adopted the new ideals, and through the years he developed a strong sense for historical Swedish architecture. As an architect he remained open to new ideas, and his later work is strongly influenced by the design of a younger generation. Keywords Isak Gustaf Clason, Swedish architecture 19th and 20th century, architectural conservation, architectural restoration, historic house conservation, manor house, manor garden, economic elite<br><p>QC 20180522</p>
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Balas, Ronald J. "Designing the Airstream: The Cultural History of Compact Space, ca. 1920 to the 1960s." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1408097844.
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Pisi, Maria Alessandra. "Paysage et architecture d'une métropole d'Afrique du Nord : Alger 1930-1962." Paris 8, 2006. http://www.theses.fr/2006PA082654.
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Quels sont les éventuels rapports qui peuvent lier le paysage au projet? De quelle manière la comparaison avec le site a-t-elle contribué, dans un entourage colonial, à la formulation de projets originaux et à orienter vers de nouvelles directions la vision poétique des auteurs des projets? Cette thèse examine la construction du paysage à Alger pendant la période allant de 1930 à 1962, en analysant les différentes solutions de projets formulées par certains personnages importants, tels que Le Corbusier et Henri Prost, qui exerçaient leur activité à Alger au moment où de grandes transformations étaient à l’étude. Modernisation de la ville, démantèlement de la culture coloniale, transformation des cultures architecturales et urbamistes pendant une nouvelle définition des propres connaissances. Moment de réflexion sur leur propre vision poétique de la part de certains personnages de l’architecture moderne. Ces défis convergent à Alger pendant ces années là. L’objectif de la thèse a été celui de montrer comment cette ville a contribué à l’élaboration de notions opérationnelles importantes de l’architecture contemporaine, telles que les notions de paysage et contexte<br>What possible links can exist between landscape and planning? In this particular colonial context how was a comparison with the environment able to contribute in formulating original projects and orienting the planners’ inspiration in new directions? The thesis probes into construction of the Algiers cityscape, analyzing the design strategies of important personalities such as Le Corbusier and Henri Prost whose activity there coincided with a period when far-reaching changes where under discussion. Modernization of the city, demolition of colonial civilization, transformation of architectural and planning cultures were all to be redefined. For some protagonists of Modern Architecture it was a time for rethinking their ideas. Challenges such as these were tending to converge upon Algiers during that period. The thesis aims to bring out the contribution made by this city to formulation of operative criteria, such as landscape and context, of importance to contemporary architecture
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Yazgan, Begum. "Post-war Systems Ecology And Environmentally-appropriate Approaches In Architecture Since 1960s." Phd thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/3/12607199/index.pdf.
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Environmentally - appropriate architectural works are considered by certain critics as relatively oriented without any theoretical basis other than a technicist perspective. Furthermore, this technicist approach, which puts emphasis on the application of scientific rationality, is supposed as being challenged through an arcadian agenda, which claims the return to pre-industrial values through the revival of the vernacular. In the thesis, it is argued that contrary to the assumptions that the green architecture is highly relativistic depending on the ideological standpoints, it is founded upon a holistic philosophy established on the studies pursued by post-war ecological scientists who followed systems approach. It is claimed that the aforementioned duality between the technicist and the arcadian approaches finds its expression in the contemporary green architecture depending on the philosophical framework provided by the systems approach.
Systems sciences deal with the ways in which elements of a certain whole come together to make up an organization. Its main principle is that a particular element can only be studied with regard to the totality of which it belongs. Ecologists who endow a systems perspective study on the assembly rules through which living and nonliving members of biological systems are organized into groups.
In this thesis, it is put forward that the philosophical outlook and methodology that came along with the systems thinking offers a basis for green architecture. It is provided a historical-analytical survey of the emergence of the systems approach in the architectural discipline since the 60s. It is argued that the 60s appropriation of the systems approach in architecture is still influential in the contemporary green architecture<br>that today&<br>#8217<br>s architects utilize the theories and methods put forward throughout this process of appropriation in their works, alongside the scientific terminology developed by the systems ecologists.
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Farnia, Shalmani Hamed. "Architecture contemporaine et théorie de la déconstruction : le processus architectural à l'épreuve de la philosophie." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC005/document.
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Dans cette thèse, nous nous intéressons aux relations spécifiques entre l’architecture et la philosophie dans une période bien précise de l’histoire de l’architecture. Notre recherche consiste en une analyse approfondie du processus de la conception architecturale approchée à partir de la philosophie de la déconstruction. Il ne s’agit pas d’aborder de façon générale le domaine trop vaste des emprunts que les architectes peuvent faire à la philosophie, mais bien de se limiter à une entrée beaucoup plus précise, en partant d’une interrogation portant sur les relations que les architectes dits «déconstructivistes» entretiennent avec un courant de la philosophie connu, depuis les écrits du philosophe français Jacques Derrida, sous cette même appellation de «philosophie de la déconstruction». L’enjeu est d’étudier le processus de conception architecturale, son passage par des concepts et son aboutissement dans des formes, en le référant à la philosophie et en se demandant en particulier comment les architectes utilisent des références philosophiques. Pour arriver à une assimilation plus rigoureuse de la pensée déconstructive en architecture, l’architecte American : Peter Eisenman a proposé une interprétation du processus de conception architecturale proche de la logique textuelle. Ce processus s’appellera chez Eisenman la «décomposition». Notre problématique majeure sera d’essayer de comprendre quels outils à la fois théoriques et pratiques utilisent les architectes contemporaines afin de restructurer une conception architecturale influencée par la pensée déconstructive ? Le but était d’arriver à donner à la déconstruction en architecture un aspect et une définition précis, au-delà loin des seules images métaphoriques que certains architectes peuvent proposer de cette notion. De là dépendait le choix des œuvres analysées comme exemples de ce mouvement, mais aussi l’élucidation que nous tentions du processus de conception architecturale issu de cette notion de déconstruction. Notre but était de parvenir à donner une figure esthétique, théorique, fonctionnelle et opérationnelle à un mouvement architectural. Nous avons construit notre projet de recherche autour de quatre problématiques et hypothèses majeures qui résument de façon générale le chemin parcouru. La première interrogation vise l’origine de ce mouvement, dans la mesure où il est au croisement de ses deux disciplines divers, la philosophie et l’architecture. Est-il possible que ce mouvement soit le fruit d’une transformation philosophique en architecture, détaché de toute théorie architecturale antérieure ? Ou bien n’est-il que le développement d’une ou plusieurs idéologies antérieures en architecture ? Notre deuxième interrogation est orientée vers une compréhension de la source philosophique – les écrits de Jacques Derrida – et le processus d’une critique de la métaphysique chez le philosophe. Qu’est-ce que la déconstruction? La troisième interrogation vise une analyse concrète entre les données philosophiques et les œuvres architecturales. Comment l’architecture, art de construction par excellence, peut-elle devenir une déconstruction d’elle-même ? Dans quelle (s) limite (s) est-il possible de réduire la déconstruction à des connaissances définissables, comme semble malgré tout l’exiger l’architecture ? Ainsi, la dernière interrogation principale de notre projet vise l’impacte de ce mouvement sur l’architecture en globale et l’architecture contemporaine<br>In this thesis, we focus on the specific relationship between architecture and philosophy in a specific period in the history of architecture. Although our research analyzes the process of architectural design through the philosophy of deconstruction, it does not generally address too broad field of philosophy. In fact, the project undermines the effects of the philosophical method of deconstruction on architecture and the so-called deconstructivists' concern with "philosophy of deconstruction" known from the writings of the French philosopher Jacques Derrida. In other words, the challenge is to study the process of architectural design, its association with concepts and its effect on forms, by referring to philosophy and in particular by claiming how architects use the philosophical references. To achieve a more precise assimilation of deconstructive thought in architecture, American architect Peter Eisenman proposed an interpretation of the architectural design process close to the textual logic. For Eisenman, this process is called "decomposition". Our major issue is to try to understand what theoretical tools and practices are used at the same time by the contemporary architects to restructure an architectural design influenced by the deconstructive thought. The aim is to give the deconstruction in architecture, a specific dimension and precise definition, far beyond the few metaphorical images that may offer some architects of thisconcept. Although we require analyzable projects to achieve a clear-cut definition, we have tried to elucidate the architectural design process resulting from the notion of deconstruction. Our goal is to achieve an operational, functional, theoretical and anaesthetic figure in an architectural movement. We have carried out our research project around four major issues and assumptions that generally summarize achieved progress. The first question examines the origin of this movement, in so far as it is at the crossroads of two different disciplines, philosophy and architecture. Is this architectural movement theresult of a philosophical transformation in architecture apart from any previous ideologies in architecture or is it the product of the development of one or more ideologies ? Our second question is directed towards an understanding of the philosophical source in the writings of Jacques Derrida and the process of critique of metaphysics for him. What is deconstruction ? The third question is about the concrete analysis between philosophical data and architectural works. How architecture, art of construction by excellence, become a deconstruction itself ? To what extent is it possible to reduce the deconstruction to a definable knowledge that the architecture can use it ? Thus, the last main question of our project highlights the impact of this movement on architecture in global and contemporary architecture
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Dungavell, Ian Robert. "The architectural career of Sir Aston Webb (1849-1930)." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340884.
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Ollero, Neves R. "Letter to Raul Lino : cultural identity in Portuguese architecture : the 'Inquerito' and the architecture of its protagonists in the 1960s." Thesis, University of Salford, 2001. http://usir.salford.ac.uk/2165/.
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Cultural identity is an issue that has concerned Portuguese artistic thought in a subliminal way ever since the end of the XIX century, with influences in architecture. Raul Lino, at the beginning of the last Century, was one of those who tried in a conscious manner, to tackle this problem both at the practical and theoretical level. Nevertheless, he never lived to see the real meaning of his proposal fully understood, not even after the retrospective of his work in the 1970 Exhibition in Lisbon. The intention behind this "Letter" is to give continuity to the perspective first formulated by him, starting from the analysis of one of the most significant accomplishments in the history of the Portuguese architecture, the INQUERITO into vernacular architecture. Having guaranteed the importance of cultural identity versus architecture as the driving force of the research, via the testimonies given by a host of relevant personalities in Portuguese cultural life, and evaluated the antecedents and convergences of the identity issue, the research field was defined as well as the methodology. This is based on a qualitative model which rendered the investigation viable, enabling the echoes of the INQUERITO to be appreciated in the architecture of the 1960s. The INQUERITO is therefore the subject of analysis and evaluation, as an instrument of research into the unique Portuguese vernacular architecture. The erudite architecture of its "protagonists" is also evaluated using similar criteria to assess the concerns with identity issue, mostly of a qualitative nature, as a corollary to the sensitivity side of the same issue. Finally, the importance of the identity perspective gave rise to an attempt at projecting the findings onto the teaching of architecture, so as to improve on the necessary humanization of relationships between real places and all their actors.
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O'Callaghan, Judith M. Built Environment Faculty of Built Environment UNSW. "Project housing and the architectural profession in Sydney in the 1960s." Awarded by:University of New South Wales. Built Environment, 2007. http://handle.unsw.edu.au/1959.4/40505.
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This thesis argues that the emergence of architect-designed project housing in Sydney in the late 1950s and 1960s was associated with a cultural and political shift within the local architectural profession. In order to provide an understanding of how such a shift might be defined, the thesis draws from the literature on the sociology of professions and the theories of sociologists Pierre Bourdieu, Paul du Gay and Sharon Zukin. Beginning in the 1930s and then progressing through the war and postwar years, the thesis will show how the popular housing market came to assume a major point of focus for the local architectural profession not only as an area of practice but also in relation to issues of identity and public image. The emergence of architect-designed project housing in Sydney in the late 1950s and 1960s is seen as an extension of that process. The thesis demonstrates how successful models of architectural engagement with project housing were used to highlight limitations in the way in which the profession had defined itself, particularly through such devices as the Royal Australian Institute of Architects' Code of Professional Conduct. It is argued that the dramatic revision made to that code in 1969 embodied a distinct cultural and political shift for the profession and was the result of a growing tension between traditional ideals and the realities of practice. It is concluded that architect-designed project housing served to inform that shift by providing a context in which aspects of this tension could be tested and, in some cases, reconciled.
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Gologlu, Sabiha. "Analyzing The Mimarlik Journal: A Study On Architecture In Turkey In The 1980s." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613764/index.pdf.
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This thesis aims to examine the transformations that took place in architectural theory and practice in Turkey in the 1980s, and the role of architectural publications in this context, by analyzing the framework that was drawn by the Mimarlik journal.
The analysis of Mimarlik is undertaken in relation to architectural developments in the world and in Turkey, and foreign and local counterparts of the journal. The shifting stances of the journal, as the publication of the Chamber of Architects of Turkey, are studied with reference to the distribution of theoretical and practical content included in it and its changing editors and committees.
Architects, buildings, architectural activities, and publications of the decade are scrutinized in order to evaluate the journal&lsquo<br>s approach towards architectural theory and practice. The thesis attempts to situate Mimarlik in the context of contemporary architectural developments of the 1980s. It argues the journal&lsquo<br>s role in
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Briz, Maria da Graça Gonzalez 1952. "A arquitectura de veraneio-os Estoris 1880-1930." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1989. http://dited.bn.pt:80/29763.
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Silveira, Marcele Cristiane da. "O azulejo na modernidade arquitetônica 1930 - 1960." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-25032010-154757/.
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No Brasil, os anos de 1930 a 1960 irão colher os frutos dos movimentos ocorridos no início do século XX: centralização do poder nas mãos do Estado, alfabetização em massa, uniformização da população, primeira grande guerra, pós-guerra, industrialização, tentativa de democratização. Em meio a esse período sócio-econômico-cultural conturbado, a arquitetura destaca-se como solução para a criação de uma identidade nacional e fortalecimento dos ideais do nosso país como nação. A denominada arquitetura moderna brasileira lança-se em comunhão com o governo, avança e torna-se ícone de renovação mundial. Com a ascensão da nova arquitetura, renasce a arte da azulejaria, adormecida pelos insistentes movimentos de repressão a tudo que se relacionava à arquitetura neocolonial. O processo de reavivamento do material decorreu do fato de o discurso moderno brasileiro casar a tradição com a modernidade e fazer dos materiais nacionais e tradicionais ponte de ligação entre o colonial e a vanguarda. Desse processo, nasce a dissertação, que objetiva estudar a arte da azulejaria durante o movimento moderno com recorte entre os anos de 1930 a 1960 como elemento integrante na conformação de um discurso e de uma arquitetura nacionais. Os estudos de caso elencados para se aprofundar no assunto da azulejaria são o Ministério da Educação e Saúde Pública, no Rio de Janeiro RJ e o Conjunto da Pampulha, em Belo Horizonte MG, composto este pelo Cassino, Casa do Baile, Iate Clube e Igreja de São Francisco de Assis. Perante um processo de globalização mundial e banalização da cultura, o entendimento do papel do azulejo na arquitetura brasileira pode auxiliar na preservação desse bem que é patrimônio nacional e evitar que essa memória seja esvaecida.<br>In Brazil, the years from 1930 in 1960 will reap the benefits of the movements occurred at the beginning of the twentieth century: centralization of power in the hands of the state, mass literacy, uniformity of the population, first great war, post-war, industrialization, attempt to democratization. In the midst of that troubled socio-economic-cultural period, architecture is referred to as a solution for the creation of a national identity and strengthening the ideals of our country as a nation. The so-called modern Brazilian architecture launches itself in communion with the government, progresses and becomes an icon of worldwide renewal. With the rise of the new architecture, the art of ceramic tile is reborn, wich was dormant by repeated movements of repression to everything that related to the neocolonial architecture. The process of reviving the material was caused by the fact that the Brazilian modern speech joins tradition with modernity and makes the national and traditional materials as linking bridge between the colonial and the vanguard. From this process, a dissertation is born, which aims to study the art of ceramic tile during the modern movement cut between the years of 1930 to 1960 as an integral element in the conformation of a speech and a national architecture. The case studies listed to deepen on the subject of the tile are the building of the Ministério da Educação e Saúde Pública in Rio de Janeiro - RJ and the Conjunto da Pampulha in Belo Horizonte - MG, composed by Cassino, Casa de Baile, Iate Clube and Igreja de São Francisco de Assis. Faced with a word globalization process and the culture trivialization, understanding of the tile role in the Brazilian architecture can preserve this material which is a national treasure and prevent this memory from being erased.
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Ahmad, A. Ghafar Bin. "Conservation of British colonial buildings built between 1800 and 1930 in Malaysia." Thesis, University of Sheffield, 1994. http://etheses.whiterose.ac.uk/14730/.
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conservation in the United Kingdom and to develop possibilities of transferring them to the context of British colonial buildings in Malaysia. It is axiomatic, based on visits to and observations of a large number of buildings in Malaysia and the United Kingdom, that there are many similarities between the British colonial buildings built between 1800 and 1930 in Malaysia and those built in the same period of time in the United Kingdom; in terms of style, building materials, detailing, function and construction. Like many other countries in which building conservation seems a fairly new practice, Malaysia faces problems in dealing with the issues of historic buildings. The present legislation for historic buildings is not sufficient nor suitable, to protect such buildings from being demolished and destroyed. There is also no suitable system for discovering and recording the British colonial buildings in the country. Another aspect is lack of technical knowledge in repairing and maintaining historic buildings. An introductory chapter explains further these problems besides describing the British colonial architecture and the present situation of building conservation in Malaysia. The thesis is divided into five parts. Part One, deals with legislation, examines the scope of building conservation, reasons for conservation, tenninology, recording and listing buildings; and also some case law in regard to building conservation in the United Kingdom. Part Two looks upon philosophical attitudes of some organizations dealing with building conservation in the United Kingdom and Malaysia. Part Three includes a study of methodology which covers saving historic buildings, systems for discovering and recording, data of British colonial buildings, the use of building materials and common defects; and methods and techniques of building maintenance. Part Four presents and analyses case studies of building conservation in the United Kingdom and Malaysia. Several buildings have been selected to compare their changes of use and methods of renovation. Part Five provides conclusions and recommendations for the improvement of the British colonial buildings in Malaysia.
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Rashid, Mahbub. "City form and changing process : the case of the North End, Boston, 1860-1930." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/69310.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.<br>Includes bibliographical references (leaves 168-173).<br>This thesis originated from the assumption that the effects of time on city form involve complex processes and are closely related to different physical and social factors where human beings as changing agents play only a partial role. Taking the North End, Boston as a case study, it tries to explore the complexities of the combined effects of some of these processes bearing on city form. In conclusion, the thesis shows that changes in city form do not happen only because there is a deterministic need, such as a population increase, or only because human beings as the primary changing agent wants something to happen in a certain way. Evidently, none of the processes or elements, alone, can sufficiently explain the changes in city form. The relationship between the processes bearing on city form is far more complicated and is generally non-deterministic in nature. At the most abstract level that can be conceptualized as a three dimensional relationship, acting between 1) the stimuli like economic and population growth provoking change, 2) the adaptive change required by the stimuli, and 3) a wide variety of factors that mediate between this stimulus-response relationship, sometimes by enhancing it and at other time by retarding it. The thesis tries to extrapolate the characteristics of these mediating factors, and the relationship between the city and humans as changing agents in the form of some intrinsic regularities and constraints of the changing process in city form.<br>by Mahbub Rashid.<br>M.S.
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Aiche, Boussad. "Architecture des années trente à Alger : les figures de la modernite." Bordeaux 3, 2010. http://www.theses.fr/2010BOR30054.
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Dans le sillage des réflexions menées par de nombreux chercheurs concernant la production du cadre bâti en situation coloniale, ce travail ouvre la voie à une étude centrée sur la connaissance des architectes et des architectures qui émergent durant la décennie des années trente à Alger. Largement tributaires des travaux engagés par la recherche sur les villes coloniales, les débats autour de la représentation de cet héritage architectural, ne peuvent ignorer les questions liées à son processus de production. En effet, si les circonstances historiques et les conditions qui ont favorisé l’émergence du modernisme, ont permis d’asseoir les ancrages de cette recherche, elle explore avant tout la notion de culture architecturale à partir des interfaces qu’elle a construit avec l’histoire et la culture, sous le prisme des acteurs et des pratiques professionnelles. Etroitement liée à la démarche conceptuelle du projet, cette culture architecturale en rupture avec l’éclectisme antérieur fait apparaître les rapports complexes qui se sont tissés entre discours théorique et projet, en s’insérant dans des systèmes de médiation, que Gottfried Semper, associe à des figures de transposition symboliques. La présente thèse se propose ainsi d’articuler autour de ces questions, une réflexion mettant en valeur le contexte algérois et le rôle joué par les architectes à partir des médiations qui se mettent en place. Elle explore les fondements relatifs aux tendances et aux courants de pensée ainsi que les filiations et les mouvements d’échanges qui ont permis aux figures de la modernité de se nourrir d’influences croisées<br>This work aims to study the architects and the architectures which appear during the decade of the thirties in Algiers. It outlines the most important events and evokes colonial architecture that shaped the city, bearing in mind as we read on, the social and historical contexts which were the conditions of this architectural production. Based on studies engaged by the research on the colonial cities, the debates around the representation of this architectural heritage cannot ignore the questions connected to its process of production. Indeed, if the historic circumstances and the conditions which facilitated the emergence of the modernism, allowed to sit this research, it investigates above all the notion of architectural culture from the interfaces that it built with the history and the culture, under the prism of the actors and the professional practices. This thesis proposes therefore, to articulate around these issues, a discussion highlighting the Algerian context and the role played by architects, by exploring the movements of exchange and cross-influences that led to the figures of modernity
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Hernandez, Dahnya Nicole. "Funny Pages: Comic Strips and the American Family, 1930-1960." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pitzer_theses/60.
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This thesis examines a selection of American newspaper comic strips from approximately 1930 to 1960. At the height of their runs, many strips appeared in upwards of a thousand newspapers in the United States alone, and syndicates crafted and adjusted the content of these strips according to their image of the average American. This work discusses the pop cultural significance of these strips as well as the traditional American values revealed through each of them. Three strips in particular are the focal point for this thesis: Blondie, created by Chic Young in 1930, Little Orphan Annie created by Harold Gray in 1924, and Li’l Abner created by Al Capp in 1934. The first chapter, focusing on the relationship between Blondie and Dagwood Bumstead, will discuss how power within the family hierarchy is predicated on moral character, as well as how the recurring theme of punishment develops through Dagwood’s personal failures. The second chapter will look at the idea of cultural regularity in Little Orphan Annie through an examination of Daddy Warbucks. It will also deal with themes of leadership and legacy as communicated by the relationship between Annie and Warbucks. The third and final chapter will discuss how the satirical strip Li’l Abner responded to Blondie and Little Orphan Annie in terms of its rejection of traditional family hierarchy, specifically relating to male-female relationships. Ultimately, this thesis seeks to illustrate how a selection of comic strips expressed certain moral values, and the way in which they placed the characters at the mercy of following those values.
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Acosta, Maria Martina. "Imaginários da modernidade: arquitetura em Santa Fé, 1930-1950." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/18/18131/tde-08082003-105705/.
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Este texto fala das formas em que uma arquitetura tornou-se um registro do ideario moderno na Santa Fé dos anos trinta. Uma nova arquitetura, ligada tanto à burguesia comercial quanto ao Estado, transforma a imagem da cidade, em constante câmbio desde começos de século XX. Essa arquitetura -moderna- é também um fragmento de um discurso que constrói o imaginário moderno a partir de múltiplas imagens. O que está sendo colocado por essa cultura dos trinta é a própria identidade, a história, o futuro. Assim, é preciso discutir não apenas esses objetos arquitetônicos mas a própria construção da história. Portanto, o texto percorre os conceitos de história, de modernidade, situando-se no campo historiográfico, traçando as perguntas de nossa cultura latinoamericana, mas também aquelas que nos colocam em relação com nosso passado europeu. A análise de arquitetura moderna numa cidade do interior do país na década de trinta se desenvolve tentando abranger uma complexidade que vai além do objeto arquitetônico, procurando dar conta de uma lógica já passada, dos atores e suas instituições, reconstruindo a relação entre modos de produção, pressupostos teóricos, práticas arquitetônicas e formas resultantes. Quer dizer, traçando as relações no campo de discurso da produção arquitetônica, discutindo um episódio da modernidade.<br>This text talks about forms which a new architecture turns a register of the modern notion at Santa Fé in the 1930s. A new architecture, linked at commercial bourgeoisie as soon as Estate, transforms city image, in constant change since 1900. This -modern- architecture is too a fragment of a discourse that builds modern notion starting from many images. That culture of 1930 is discussing its own identity, history, future. Them, it is necessary to discuss not only architectural objects, but the construction of a history idea. Therefore, the text looks over history and modernity concepts, working in historiographic field, making tje questions of our Latin-American culture, but making too the others which place us in relation our European past. The analysis of modern architecture at little city of the country during the 1930s develops trying to embrace a complexity which goes beyond architectural object, accounting a past logic, actors and institutions, constructing the relation between production forms, theoretical presuppositions, architectonic practices, and form. That is, tracing relations into architectural production discourse field, discussing an episode of modernity.
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Cerávolo, Ana Lúcia. "Interpretações do patrimônio: arquitetura e urbanismo moderno na constituição de uma cultura de intervenção no Brasil, anos 1930-60." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-04052011-151700/.
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Mais de setenta anos após a criação do SPHAN, um conjunto significativo de experiências e reflexões permite verificar a constituição de um campo cultural próprio de intervenção arquitetônica em bens patrimoniais. As interlocuções entre Brasil, Europa e América latina ajudam a compreender a integração do país no cenário internacional. Nesse sentido, pode-se localizar o SPHAN como vanguarda nos debates sobre a preservação até a década de 1950, ao invés de um caso singular no contexto do movimento moderno, como vem sendo interpretado. As análises entre preservação e modernidade oferecem novas perspectivas à visão corrente e senso comum de que a arquitetura e o urbanismo moderno, e, em particular, a Carta de Atenas, formulada a partir do IV CIAM (1933), estão fundados num radical anti-historicismo e propõem a \"tábula rasa\" como único método de intervenção urbana. A análise da atuação de profissionais de diversas nacionalidades, sobretudo vinculados à arquitetura e urbanismo moderno, desde os anos 1930 até a redação da Carta de Veneza, em 1964, permite evidenciar a contribuição fundamental do modernismo para o aprofundamento e atualização das teorias e tendências no campo da preservação e intervenções no século XX. Como estudo de caso dessas dinâmicas, dois projetos, realizados em Salvador, Bahia, foram selecionados: o restauro e adaptação do Convento de Santa Teresa para instalação do Museu de Arte Sacra da Bahia, projeto de Wladimir Alves de Souza e Geraldo Câmara (1957-9), e a restauração e adequação do Solar do Unhão para abrigar o Museu de Arte Moderna da Bahia, sob responsabilidade de Lina Bo Bardi (1961-3). Por meio deles é possível explicitar os novos problemas do patrimônio nas décadas seguintes, assim como acompanhar as alterações que se processaram nessa área no Brasil, entre o final da década de 1950 e o início dos anos 1960. As novas posturas de intervenção sobre os bens patrimoniais, em particular a introdução dos princípios da \"restauração crítica\" no país, fazem parte desse processo de transformação, que também envolve a atuação de profissionais não vinculados organicamente ao SPHAN e a participação mais ativa de entidades como o IAB e a UNESCO, além da criação de novas instituições com incidência na área como ICOMOS (1964), EMBRATUR (1966), entre outras. A análise histórica e a avaliação mais precisa do período estudado visam a contribuir para a melhor compreensão das teorias e práticas em torno do restauro e da intervenção no patrimônio cultural, cada vez mais relevante na formação e no exercício profissional de arquitetos e urbanistas.<br>More than seventy years after the SPHAN (National Historic and Artistic Heritage Service) was created, a significant group of experiences and reflections allows to detect the constitution of a cultural sphere concerning architectonic intervention in cultural heritage in Brazil. The dialogues with Europe and Latin America help us to understand the country\'s integration into the international scenario. In this sense, rather than a particular case inside the modern movement, as it has been interpreted, the SPHAN is situated in the vanguard of the discussions on conservation until the 1950s. The analysis of the relations between preservation and modernity offers new perspectives to the common sense that architecture and modern urbanism, and particularly the Charter of Athens (1933), formulated after the 4th CIAM - International Congress of Modern Architecture, are established on a radical anti-historicism and propose the tabula rasa as sole method of urban intervention. The works of professionals from diverse nationalities, specially those related to modern architecture and urbanism, from the 1930s until the Charter of Venice in 1964, reveal the crucial contribution of modernism towards the enrichment and update of the theories and trends in the field of preservation and interventions in the 20th century. For the analysis of these dynamics two projects carried out in Salvador, Bahia, are highlighted: the restoration and adaptation of the Convent of Santa Teresa to install the Sacred Art Museum of Bahia (Wladimir Alves de Souza and Geraldo Câmara, 1957-9), and the restoration and adaptation of the Solar do Unhão to house the Museum of Modern Art of Bahia (Lina Bo Bardi, 1961-3). The drafting and discussions of these projects evince new problems around cultural heritage as well as the changes in this area in Brazil, in the late 1950s and early 1960s. The new conceptions of intervention in architectonic heritage, particularly the introduction of the principies of \"critical restoration\", the involvement of professionals not organically tied to the SPHAN, a more active participation of entities as the IAB and UNESCO, and of new institutions as the ICOMOS (1964), EMBRATUR (1966), among others, are part of this process. The historical analysis and a more precise assessment of the years 1930-1960 seek to contribute to a better understanding of the theories and practices around the architectonic intervention in cultural heritage, which is becoming increasingly important in the work and training of architects and urban planners.
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Pinarevli, Mehmet. "A Study On The Urban / Architectural Transformations In Kecioren District After 1990s." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606704/index.pdf.
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Ankara, being the capital, has been the most important city for the New Modern Turkish State on its way of establishing the modernity project of Turkey. The development of the urban planning projects proceeded on the basis of this aimed concept of the new society, carrying the privilege of being the symbol of the modern republic, prosperity and wealth.
Keç<br>iö<br>ren is one of the main districts of Ankara. The main aim of this study is to analyze and describe the ideological departure of Keç<br>iö<br>ren from the concept of the &ldquo<br>modern&rdquo<br>Ankara, within the last ten years. Here the attitude of the municipality and its role as the agent of civil power leading the architectural and urban transformation of Keç<br>iö<br>ren from a district full of gecekondu to one full of &ldquo<br>decorated sheds&rdquo<br>will be discussed. Here, the term &ldquo<br>decorated shed&rdquo<br>, introduced by Robert Venturi, will be used for the explanation of the new architectural and urban elements Furthermore, the attitude of the society and the architects and contractors who are responsible for the actual case will be brought into argumentation. In this sense, other subsidiary terms will be used to explain the process of the case are<br>populism and politics, nationalism, the ideology of the Turkish nation (Tü<br>rklü<br>k), Turanism, Islamism and orientalism. Additionally, an important building in the district, the Estergon Castle, which has different characteristics from the other parts of the district, will be explained with the terms &ldquo<br>hyper-reality&rdquo<br>and &ldquo<br>kitsch&rdquo<br>by the explanations of Umberto Eco and Dorfles.
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Serrano, Saseta Rafael. "La création d'un type architectural : les grands magasins parisiens (1844 - 1930) /." Lille : Atelier National de Reproduction des Thèses, 2004. http://swbplus.bsz-bw.de/bsz273303759inh.htm.
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Serrano, Saseta Rafael. "La création d'un type architectural : les grands magasins parisiens (1844-1930)." Paris 8, 2005. http://www.theses.fr/2005PA082490.
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Le grand magasin occupe une place de choix dans les textes des théoriciens, au point d'être considéré comme un précédent de l'architecture moderne. Il attire tout particulièrement l'attention des chercheurs par sa vocation à servir de terrain de développement des arts appliqués. Certains grands magasins peuvent en effet être décrits comme des oeuvres d'art total et, à l'instar des grandes constructions en fer du XIXe, ils ont bel et bien représenté les premières expériences de transformation de l'architecture en expression de la construction, mouvement qui constitue un des piliers de l'architecture moderne. Néanmoins, en dehors de la préeminence accordée aux exploits d'ingénieurs ou de l'intégration du phénomène du grand magasin dans l'histoire générale des styles, la capacité de la fonction commerciale moderne à créer ou à redéfinir des nouveaux dispositifs spatiaux n'a pas été encore bien expliquée. Tout se passe comme si le fondement architectural du grand magasin était étouffé par les théories de l'ingénieur et de l'artisanat. Le présent travail se propose ainsi de réinterroger l'architecture propre des grands magasins et de centrer ses analyses sur les questions liées à l'usage, à l'occupation et à l'interprétation des nouveaux espaces qu'ils proposent<br>The phenomenon of the large department stores has frequently been analyzed by historians of architecture as an important precedent for modern architecture. As it is an example where applied arts come together to produce a work of total architecture, this type of building has always been a focus of attention for investigators. But furthermore, as with the rest of the great iron structures of the XIX century, the big department stores are also the first experiments in the transformation of architecture to constructive expression, which constitutes one of the pilars of modern architecture. However, apart from the importance which tends to be given to the engineering achievement, apart from integrating the phenomenon of the big department stores in the general history of styles, the capacity that the function of modern commerce has for creating or redefining new spacial mechanisms, has not been sufficiently analyzed. It is as if the architectoral spinal chord of the problem were trapped between its engineerial dimension and its traditional dimension. This work attempts to extract that architectoral spinal chord through the direct analysis of questions such as the use, the employment and interpretation of the space in big department stores
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Roland, Julie. "Les identités du mouvement moderne en Espagne dans le GATEPAC (1930-1937)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040202.
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Notre thèse porte sur le GATEPAC, Grupo de Arquitectos y Técnicos Españoles para el Progreso de la Arquitectura Contemporánea, qui est un groupe d’architectes créé en 1930, et affilié au mouvement moderne et aux CIAM. Le groupe, attiré par l'exemple international, est composé d’une vingtaine d’architectes et se divise en trois sous-groupes : l’un à Madrid, un deuxième au Pays Basque; et un troisième en Catalogne. Le GATEPAC se définit dès lors comme intégrant les problématiques internationales des CIAM et propose l’application de celles-ci dans la péninsule avec sa participation à des concours, des expositions, mais aussi de commissions. Leurs travaux sont synthétisés dans la revue de propagande du GATEPAC, A.C., Arquitectura Contemporánea.Ce groupe d’architectes espagnols, qui appartient à la seconde génération du mouvement moderne, naît à la croisée de deux moments importants dans l’histoire de l’architecture et dans l’histoire politique de l’Espagne : la naissance des CIAM et des CIRPAC de 1928, et l’avènement de la Seconde République espagnole, après sept années de dictature, le 14 avril 1931. Cela nous invite à nous interroger sur la manière dont le GATEPAC, compris comme la seconde génération du mouvement moderne, s'inspire de l’architecture européenne pour ensuite s’en affranchir et participer pleinement aux réflexions internationales, mais aussi sur la façon dont les sous-groupes régionaux gèrent leurs identités pour participer aussi aux politiques nationales et régionales. L’action de chaque sous-groupe est fortement imbriquée dans les politiques régionales issues de la Seconde République<br>This thesis concerns the GATEPAC, Grupo de Arquitectos y Técnicos Españoles para el Progreso de la Arquitectura Contemporánea, a group of architects created in 1930 and affiliated both to the architectural modern movement and to the CIAM. This group, following the example of other international experiences, was composed by about twenty or so architects and was divided into three subgroups : one in Madrid, one in the Basque Country and the last one in Catalonia. The GATEPAC can be defined as a group integrating all the international issues ad subjects contained in the CIAM and proposes their application in the country by the participation to architect contests, expositions and commissions. Its work can be found synthesized in the propaganda magazine of the GATEPAC, A.C., Arquitectura Contemporánea.The GATEPAC, which belongs to the second generation of the modern movement, uprises at the junction of two important moments in architectural and in Spanish political histories : the CIAM and the CIRPAC’s births in 1928, and the advent of the Second Spanish Republic,on the 14th of april 1931, after seven years of dictatorship. These two conditions move us to think about how the GATEPAC, as part of the second generation of the architectural modern movement and inspired at the beginning by the European architecture gets to free itself and to participe in the international architectural discussions, but also about how the three sub-groups handle their identities in order to contribute to national and regional policies. Actually, the role of each subgroup is essential and strongly related to the regional policies implemented during the Second Republic
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Savasir, Gokcecicek. "Re-thinking The Limits Of Architecture Through The Avant-garde Formations During The 1960s: Projections And Receptions In The Context Of Turkey." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609369/index.pdf.
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An inquiry into the voyage of avant-garde within the domains of art and architecture makes
it evident that avant-garde is ambiguous in meaning as a word, a term, a phenomenon and a
concept. This study aims to decipher avant-garde and to offer a map for its
conceptualization in architecture. Taken not as a monolithic statement but as a unitary
concept incorporating a number of subjects and formations for granted, in this study,
architectural avant-garde is conceptualized as diverse expressions of activated energy of
various subjects that reveal completely different attitudes and productions. Unfolding the
concept in different dimensions, this study is an endeavor to delve deeper into various
layers of theoretical and historical formations<br>to form a framework for conceptualizing
architectural avant-garde through scanning the twentieth-century avant-gardes<br>to focus on
the avant-garde formations of the 1960s by applying this conceptual framework, and the
debate on their receptions in the present architectural context of Turkey. Being on the verge
of architecture, the avant-gardes during the 1960s, namely Constant Nieuwenhuys, Yona
Friedman, Japanese Metabolists, Archigram, Archizoom, and Superstudio, point out that
architecture is both an intellectual activity and a physical production. Projections and
resonances of these avant-gardes in the Turkish architectural context of the subsequent
periods are trail blazed through the expressions of a group of receiving subjects from the
Turkish scene of architecture. Hence, this study offers to lay a common ground for debating
on the limits of architecture by forming not only the topography of architectural avantgarde
in this era, but also a &<br>#8216<br>supra-discourse&<br>#8217<br>on architectural avant-garde.
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Osain, Enato James. "A conceptual framework for the strategic practice of architecture in an uncertain external environment : a study of the implications of the recession of the early 1990s on UK architectural practice." Thesis, University of Nottingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320020.
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Bell, Laura Kathleen. "Castles in America their diffusion in the northeastern United States during the Romantic Era (1870-1930) /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5626.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 25, 2008) Includes bibliographical references.
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Forte, Riccardo. "L'architecture coloniale italienne en Libye : les doctrines, les programmes, les pratiques (1930-1940)." Paris 1, 2008. http://www.theses.fr/2008PA010661.
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L'architecture moderne en Libye naît au début des années 30 du XXè siècle, lorsque les avant-gardes du rationalisme italien mettent au point les fondements doctrinaux d'une nouvelle discipline architecturale coloniale, les villes de Tripoli et Benghazi étant le laboratoire expérimental de ce processus. La modernisation du "Quatrième Rivage", qui démarre en 1934 sous l 'impulsion du gouverneur Italo Balbo, est la caisse de résonance propagandiste d'un projet urbain et social titanesque fonde sur la création d'une architecture rationnelle qui emploie les matériaux et les techniques d'innovation. Entre 1930 et 1934, la mystique du retour a l'"esprit latin éternel" affirme la vision identitaire d'une architecture méditerranéenne qui aspire au rôle de primauté sur la culture mode me européenne. La conquête de l'Empire en 1936 sanctionne l'affermissement d'une démarche totalitaire, qui impose un langage architectural forge ,sur la mythologie de la romanité et sur le monumentalisme licteur.
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Fan, Ya-Timg. "Representing Japanese Taipei : studies in urban development and architectural style (1895-1930)." Thesis, University of Reading, 2018. http://centaur.reading.ac.uk/77835/.
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While the urban development and the architecture of Taipei during the Japanese colonisation (1895-1945) has been extensively investigated, the architectural style of the shop-house has not been deeply explored. The style of these buildings has often been characterised simplistically as either 'Baroque' or 'Neo Mannerist' without any real attempt to understand the sets of associations. The Taiwanese shop-houses that were produced in this period were really much more complex in style, embracing Western, Japanese and Taiwanese features. It was more translation than imitation. In the light of all this, this dissertation studies both Japanese and Taiwanese shop¬houses in Taipei. The research focuses on how and why shop-house design in Taipei changed in this period, what styles were adopted by their designers, and what meanings and associations these styles have for their audiences. The findings suggest that the Japanese shop-house was more significantly influenced by English nineteenth-century historicist architecture than the others. The Taiwanese shop-houses which built by local craftsmen, such as the Chen-GUO family, were influenced not only by the colonial Japanese architecture in Taipei (namely the Western-style government buildings) and the shop-houses built by the Japanese architects for the Japanese merchants, but also by Han Chinese traditions in design. What this dissertation aims to provide therefore is a more nuanced approach to describing the style in early twentieth-century Taipei, one that owes much to the important Chen-GUO family.
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Piza, João Fernando Blasi de Toledo. "Nos sertões de Botucatu: arquitetura e território das sesmarias pioneiras às grandes instalações cafeeiras 1830-1930." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-07032016-195405/.
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O presente estudo aborda a arquitetura produzida nos Sertões de Botucatu, território situado a oeste do rio Sorocaba e do Caminho do Sul ou de Viamão, entre os rios Tietê e Itararé, incluindo terras dos antigos municípios de Piracicaba, Pirapora do Curuçá (Tietê), Tatuí, Itapetininga, Botucatu e Faxina (Itapeva), procurando explorar as técnicas construtivas, os programas, os partidos e os equipamentos domésticos e produtivos. Para tanto, foram realizadas leituras de estudos correlatos, pesquisas em arquivos no interior e na capital paulista, levantamentos de campo, incluindo entrevistas, fotos e levantamentos métrico-arquitetônicos, trazendo à luz um amplo leque de informações sobre a arquitetura, o processo de ocupação do território, o cotidiano e a transformação do artesanato da região botucatuense no século XIX.<br>This study deals with the architecture produced in the \"Sertões\"* of Botucatu, the territory situated west of Sorocaba River and of Viamão Way ( South Way ), between the Tietê and Itararé rivers, including lands of the ancient municipalities of Piracicaba, Pirapora do Curuçá (Tietê), Tatuí, Itapetininga, Botucatu and Faxina (Itapeva), seeking to explore the constructive techniques, programs, architecture conception and domestic and productive equipments. In order to do so, readings of correlative studies and arquival researches in the cities involved and in the state capital were made; also field data collection, including interviews, photos and metric-architectural surveys, bringing to light a wide range of information about the architecture, the process of territory occupation, the daily life and the transformation of the craftwork of the region of Botucatu in the nineteenth century. *Brazilian expression for \"backwoods\" or \"backland \"
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Ferreira, Camila Corsi. "Arquitetura residencial urbana: Espírito Santo do Pinhal, 1880-1930." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-19032011-215746/.
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Estuda a arquitetura residencial urbana em Espírito Santo do Pinhal, região paulista de economia cafeeira. Insere-se no contexto de produção de casarões urbanos patrocinados pela riqueza acumulada pelo café, edificados no final do século XIX e início do século XX, constituindo importante acervo arquitetônico do ecletismo e da história do ciclo cafeeiro no estado de São Paulo. A abordagem teórica apóia-se especialmente em autores como Maria Cecília N. Homem; Nestor Goulart Reis Filho; Carlos Lemos; Maria Ângela Bortolucci. Documenta e analisa 34 casarões representativos desse período. Destaca a importância do estudo da arquitetura da burguesia cafeeira, e aponta para necessidade de conscientização e preservação deste patrimônio como documento histórico e arquitetônico.<br>Studies the urban residential architecture in Espírito Santo do Pinhal, São Paulos region of coffee economy. It is inserted in the context of the production of urban houses sponsored by the wealth accumulated with coffee, built in the late nineteenth and early twentieth centuries, constituting important architectural collection of the ecleticism and the history of the coffee cycle in the state of São Paulo. The theoretical approach is based especially on authors such as Maria Cecília N. Homem; Nestor Goulart Reis Filho; Carlos Lemos; Maria Ângela Bortolucci. Documents and analyzes 34 representative houses of this period. Stresses the importance of studying the architecture of the coffee bourgeoisie, and points to the need for awareness and preservation of this heritage as historical and architectural document.
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Santos, Regina Helena Vieira. "Rua São João: o boulevard paulistano da Primeira República (1889-1930)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-09062017-101657/.
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A pesquisa visa conhecer a Rua São João, na história da urbanização da cidade de São Paulo, no período da Primeira República (de 1889 a 1930) quando esta via passou por obras de alargamento tornando-se o primeiro \"boulevard\" paulistano. Investimentos público e privado viabilizaram esta obra de grande impacto na cidade na época e nas décadas sucessivas. O recorte físico parte do começo da via no antigo Largo do Rosário (atual Praça Antônio Prado) até o cruzamento com a Rua Ypiranga (atual Avenida Ipiranga). Como base da pesquisa foram estudados os documentos existentes no Arquivo Histórico de São Paulo, que trazem os projetos arquitetônicos das construções de particulares aprovados pela municipalidade. Este material foi confrontado com a iconografia (pinturas, fotos, postais), com a cartografia histórica, e complementado com leis, decretos, atas da Câmara, além das referências bibliográficas. Deste modo acredita-se que se conhece o patrimônio cultural existente hoje, o que havia antes, para no futuro desenvolver projetos de restauro urbano e arquitetônico dos edifícios, assim como plano de tutela e política de preservação.<br>This research aims to know the São João Street, in the urbanization history of São Paulo city, in the period of the first Republic (from 1889 to 1930) when this rout passed through works of enlargement, becoming the first \"boulevard\" \"paulistano\". Public and private investments made possible this work of great impact in the city at the time and successive decades. The research area is from the beginning of the street, the old Largo do Rosário (current Praça Antonio Prado) until the crossing with the Ypiranga street (current Avenida Ipiranga). The existing documents from Arquivo Histórico de São Paulo were studied, they shows the architectural projects from private constructions approved by the municipality. This material was confronted with the iconography (paintings, photos, postcards), historical cartography, and was complemented by laws, decrees, activities acts of City Council and bibliographical references. It is believed that it is possible to know the cultural heritage from the past and present, for in the future develop projects of urban restauration and architectural restauration, as well as plans of protection and preservation policy.
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Meehan, Patricia. "De la défense des bâtiments civils : le renouveau d'une politique architecturale 1930-1946." Paris 8, 2010. http://www.theses.fr/2010PA083220.
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La thèse étudie les réformes menées entre 1930 et 1946 à propos des Services de l’Architecture de l’État, des Bâtiments civils et du Conseil général des Bâtiments civils. Dès 1930, en effet, des tentatives de centralisation et de modernisation de la gestion des édifices de l’État sont lancées. Cet objectif sera poursuivi pendant les seize années suivantes, avec une persévérance qui détonne dans le contexte de ruptures culturelles, sociales et politiques qui marque profondément cette période. En étendant les réformes engagées au début des années 1930, le Front Populaire envisage la création d’un grand Service de l’Architecture de l’État. Cette vision sous-tendra la réforme du Conseil général des Bâtiments civils et le début d’une réforme des Services de l’Architecture de l’État en 1938. Celle-ci se poursuivra en 1940 avec la création de la Direction des Services de l’Architecture. En 1944, les réformes iront plus loin avec la création d’une Direction générale de l’Architecture et la transformation du Conseil général en Conseil général des Bâtiments de France. Au seuil de la Quatrième République, l’organisme chargé de la gestion et du contrôle des édifices de l’État est donc renouvelé et renforcé. Cependant, bien que certains d'aspects de la réforme restent à mettre en œuvre, la Quatrième République ne pourra pas les concrétiser. L'apparition de nouveaux courants politiques va transformer la poursuite des réformes en bataille pour la survie de la Direction de l’Architecture, un héritage des années 1930, qui lui-même renouait avec le rêve révolutionnaire de fonder un grand service veillant sur les édifices de l’État<br>The thesis studies the reforms undertaken between 1930 and 1946 in connection with the State’s Architectural Services, the Service of Civil Buildings and the General Council of Civil Buildings. Beginning in 1930, attempts are made to centralize and modernize the management of the State’s edifices. This goal will be pursued during the next 16 years with an astonishing continuity, especially given the cultural, social and political ruptures that mark this period. By expanding the reforms undertaken at the beginning of the 1930s, the Popular Front envisaged creating a great state architectural service. This vision underpinned the reform, in 1938, of the General Council of Civil Buildings, which also laid the foundation for the reform of the State’s Architectural Services. The reform of the Services went ahead in 1940 with the creation of the Direction of Architectural Services. Then, in 1944, the reforms are taken further with the creation of the General Direction of Architecture and the transformation of the General Council of Civil Buildings into the General Council of the Buildings of France. At the dawn of the Fourth Republic, the organisms in charge of the management and control of State buildings are renewed and reinforced. However, certain aspects of the reform are not yet in place, and the Fourth Republic will not be the opportunity to pursue them. The appearance of new political currents will transform the struggle for reform into a struggle for the survival of the Direction of Architecture, which sought to renew with the revolutionary dream of creating a great architectural service dedicated to watching over the State’s buildings
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Manzo, Rafael. "A arquitetura na construção da imagem do Estado Getulista: Rio de Janeiro 1930/1945." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/2565.
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Previous issue date: 2011-02-28<br>Europe was overrun by a wave of totalitarian regimes between the decades of 1920 and 1940, motivated by a distrust of liberal democracy and economic liberalism, which, from being considered the foundation for the progress in the nineteenth century, was later regarded as responsible for the outbreak of World War I and the economic crisis that followed, which reached its climax with the collapse of stock exchange in New York, in 1929. The Italian Fascism and German Nazism stood out among these regimes, respectively as the founder and the image of success of the totalitarian right-wing, which influenced part of Latin America, including the "Estado Novo" of Getúlio Vargas. The present thesis explores the use of architecture by such dictators as one of the most effective propaganda in the construction and propagation of the image of strength that the regime wished to convey, both national and internationally. The main style used for this propaganda was Tardo- classicism, which was seen as the perfect way to communicate the totalitarian government's power. In Brazil, there was no predominance of modernist architecture for the representation of the Vargas State (1930 1945) instead, the regime's image was not associated with an unique architectural style by internationally renowned architects, as this semiotic analysis of the buildings can confirm.<br>A Europa foi tomada por uma onda de regimes totalitários entre as décadas de 1920 e 1940, motivados por uma descrença na democracia liberal e no liberalismo econômico que, de bases da modernidade impulsionadora do progresso a partir do século XIX, passaram a ser taxados como responsáveis pela eclosão da Primeira Guerra Mundial e pela crise econômica que se seguiu, acentuada pela quebra da bolsa de Valores de Nova York, em 1929. O Fascismo italiano e o Nazismo alemão destacaram-se, respectivamente, como o fundador e a imagem do sucesso do Totalitarismo de direita e influenciaram parte da América Latina, inclusive o Estado Novo de Getúlio Vargas. Esta tese explora a utilização da arquitetura por estes ditadores europeus, como um dos mais eficientes suportes propagandísticos da imagem de força que pretendiam transmitir, interna e externamente. O principal estilo adotado para este propósito foi o Tardo- classicismo, devido às suas possibilidades sígnicas de representar o poder instituído. No Brasil, um aparente predomínio da Arquitetura Moderna como a representação da imagem do Estado Getulista (1930-1945), causado pelo sucesso de arquitetos desta vertente e pela projeção internacional desta arquitetura, não se confirmou pois, através de um inventário de obras executadas e de uma análise semiótica dos edifícios dos principais ministérios getulistas, constatou-se a inexistência de uma linguagem arquitetônica única para este propósito
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Teixeira, Luiz Eduardo Fontoura. "Arquitetura e cidade: a modernidade (possível) em Florianópolis, Santa Catarina - 1930-1960." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-26022010-141740/.
Full textAbstract:
O trabalho aborda a relação entre a arquitetura produzida e as transformações da cidade de Florianópolis em dois ciclos. As concepções de moderno, modernidade e modernização norteiam a investigação. Apontamentos para a montagem de um panorama da modernidade catarinense são traçados. Um primeiro ciclo (décadas de 1930 a 1950) é definido principalmente pela influência dos regimes de Getúlio Vargas no governo federal - o Estado Novo e o posterior. Uma modernidade muito a reboque do estado, que mantém a cidade como capital, com a chegada de novas edificações e programas arquitetônico-urbanos, é estudada. Um crescimento lento ajuda a manter vazios urbanos na área peninsular fundadora. Profissionais emigrados, na ausência de arquitetos formados, ajudam a desenhar a atualização de espaços arquitetônicos e a desenvolver gradativamente novas técnicas construtivas. Um segundo ciclo, que vai dos anos 1950 a meados dos anos 1960 - o nacional-desenvolvimentismo - é também pesquisado. O início de um processo de verticalização e adensamento do centro urbano e de balneabilidade e turismo no interior da Ilha são abordados. Tendências da modernidade em arquitetura brasileira, como a do modernismo, são apontadas em novos programas como o edifício de apartamentos e de escritórios. A expansão para o além da península central, através de vetores como as avenidas, criando novos bairros e consolidando outros, é estudada. O processo de aterramentos da área central e o início da ênfase rodoviarista definem o encerramento desse segundo ciclo. A ausência histórica de planos, que contemplassem a especificidade morfológica e contextual de Florianópolis, faz concluir que a partir de então a cidade verá o avanço de problemas como a perda da maritimidade e o do crescimento urbano descontrolado.<br>The work broaches the relation between the architecture produced in Florianópolis and the transformations of the city in two cycles. The conceptions of modern, modernity and modernization guide the research. Notes for the assembly of a panorama of the modernity in Santa Catarina are outlined. A first cycle (decades from 1930 to 1950) is defined mainly by the influence of the Getúlio Vargas federal government regimes - the so called \"New State\" (Estado Novo) and the later regime. A modernity linked with the state, that maintains Florianópolis as the capital city, with the appearance of new buildings and new architecturalurban programs, is studied. A slow urban growth helps to keep urban empty spaces in the original founder peninsular area of the city. Immigrant professionals, in the absence of local architects, help to draw the update of architectural spaces and to gradually develop new building techniques. A second cycle, that goes from the fifties to the beginning of the sixties the national-developmentalism - is also researched. The beginning of the verticalisation and density process of the urban center, and of the tourism development in other areas around the island are broached. Tendencies of the modernity in the brazilian architecture, like the modernism, are pointed in new programs like apartments and office buildings. The expansion beyond the central peninsula of the island, through vectors such as avenues, creating new neighborhoods and consolidating others, is studied.The process of embankments in the central area and the beginning of the emphasis on road construction defines the ending of this second cycle. The historical absence of a town planning that contemplates the morphological and contextual specificity of Florianópolis, draws to the conclusion that since then, the city has been witnessing the increasing of problems like the disconnection between the city and the sea (embankments, lack of marine transportation and of marinas) and the out of control urban growth.