Ville front placée quatre ans durant sous les bombardements, à la fin de la guerre, Reims est ravagée et détruite. La reconstruction s'effectue dans un contexte de gestion individuelle des indemnités sans que l'état ou les collectivités locales n'intervienne dans les choix des habitants. C'est ainsi que l'Art déco (à la fois un style et le reflet d’une époque) a trouvé sa place dans la ville, d'une façon naturelle. Reims renaît de ses cendres et atteint, le premier rang pour le nombre de permis de construire déposés en France, mêlant à une trame urbaine remodelée (par un plan de restructuration) sa nouvelle apparence inspirée par l'Art déco. Ce style a permis de répondre aux besoins des habitants meurtris par la Guerre, par la conjugaison judicieuse de l'art et de l'industrie. L'architecture qui résulte de cette reconstruction valut à la ville la dénomination de «capitale de /'Art déco ». Les rémois ont pu s'approprier ce style à travers une expression plus personnelle : l'originalité de l'architecture Art déco réside dans le fait que l'ornement se revêt de signification, non seulement il souligne la structure et fait corps avec l'édifice, mais selon les figures choisies et même la variété des plantes, il se révèle porteur d'émotion et pourvu de profondes significations. A titre d'exemple, la pomme de pin, symbole d'éternité se voit sur plusieurs des façades de la période de la reconstruction à Reims. Bien que les ravages aient largement démontré l'inverse, faire sculpter un tel symbole, c'était indéniablement nier le message des destructions. Ainsi, ce patrimoine doté d'un symbolisme unique et émouvant, est devenu aujourd'hui un élément de l'identité rémoise. / On the front lines for four years under bombardments, at the end of the war, Reims is ravaged and destroyed. The reconstruction is made in a context of individual management of the allowances without the state or the local authorities intervenes in the choices of the inhabitants. This is the way the Art deco (at the same time a style and the reflection dune period) found its place in the city, in a natural way. Reims is reborn of its ashes and achieves, the first rank for the number of building permits requested in France, involving with a remodeled urban network (by a restructuring plan) its new appearance inspired by the Art deco. This style allowed to meet the needs of inhabitants bruised by the War, by the sensible conjugation of the art and of the industry. The architecture which results from this reconstruction was worth in the city the nickname of " capital of the Art deco ". The inhabitants of Reims were able to appropriate this style through a more persona! expression: the originality of the architecture Art deco lies in the fact that the ornament puts on meaning, not only he underlines the structure and is at one with the building, but according to the chosen figures and even the variety of plants, he shows himself carrier of emotion and provided with profound meanings. As an example, the pine cane, the symbol of eternity is on several of the facades of the period of the reconstruction in Reims. Although the devastation widely demonstrated the opposite, make sculpture such a symbol, it was unmistakably to deny the message of the destructions. So, these holdings endowed with a only and moving symbolism, became today an element of the Reims identity.

Darbe nuosekliai apžvelgiama 1900-1940 m. profesionaliosios meninės Lietuvos baldininkystės raida. Gilinantis į mažai tyrinėtą, tačiau aktualią gilesniam meniniam pažinimui XIX a. pabaigos.- XX a. I pusės profesionaliąją meninę Lietuvos baldininkystę, yra pristatomi žymiausi baldininkai ir jų kūryba. Tad tyrimo tikslas – charakterizuojant sociokultūrinį kontekstą atskleisti 1900-1940 m. Lietuvos baldininkystės raidą, analizuoti menininkų kurtus baldus bei baldų projektus ir apibūdinti jų meninę stilistiką. Darbo dėstymą sudaro trys dalys. Pirmoji skirta Lietuvos baldininkystės raidai nuo 1900 iki 1918 m. Čia aptariamas meno ir amatų sąjūdis europiniame kontekste, jo reikšmė Lietuvos baldininkystės vystymuisi. Taip pat apžvelgiama tuo laikmečiu vyravusi art nouveau stilistika bei analizuojamas A. Jaroševičiaus bei P. Rimšos baldininkystės paveldas. Antroji dėstymo dalis apžvelgia Lietuvos baldininkystę nuo 1918 iki 1940 m. Gilinantis į sociokultūrinį kontekstą nušviečiama baldininkystės padėtis, o taip tuo metu vyravusi art deco ir tautinio stiliaus samplaika. Analizuojami žymiausių menininkų kūriniai, bei interjerų projektams skirti projektai ir baldai. Trečioji dalis skirta baldininkystės sklaidai virtualioje erdvėje pateikiant internetinio tinklaraščio modelį bei mokslinį baldų katalogą. / The present paper gives a consistent overview of the development of Lithuanian furniture making during 1900-1940. Focussing on Lithuanian furniture making in the first half of the 20th century, which has remained until recently little analysed yet fundamental to deepening one’s artistic perception, this paper sets out to analyse the furniture and furniture projects created by artists in the socio-cultural context. In order to shed light on the development of furniture making, the paper discusses the arts and crafts movement which emerged at the beginning of the 20th century and its impact on the development of Lithuanian furniture making. It also gives an overview of the Art Nouveau stylistics of the time and analyses the heritage of furniture making by A. Jaroševičius and P. Rimša. When Lithuania became independent after the First World War the life in the country changed, therefore, in order to shed light on the situation of furniture making during 1918-1940 the paper focuses on the interwar socio-cultural context and outlines the reasons of confluence of Art Deco and Ethnic Style in furniture making. It also analyses the works of J. Prapuolenis, the most famous interwar cabinetmaker, and discusses the sketches of furniture of G. Bagdonavičius as well as the unique furniture design of P. Galaunė. During the interwar representative interiors served as an important means of expressing national identity, therefore, the paper analyses the furniture projects of interior... [to full text]

I find a similarity between my work and the absurd character of many of the unrealized inventions of earlier times. An example of the latter is the Saluting Device, whch allowed a gentleman to tip his hat without having to use his hand. These machines were never produced for popular use precisely because of their absurdity. Unlike these inventions, however, my sculptures are not created to perform any useful function. I intend them to be viewed as satirical, comical, and fictitious oddities through which I work to convey ideas and feelings about the dilemmas of modem society. Like a machine, our society needs careful maintenance and fuel to function smoothly, but it is, I believe, running out of energy and beginning to break down. I build my obsessive-compulsive objects to resemble household appliances and toys. Ths is an attempt to establish a comfort level for the viewer. Contemplation of ,these machnes will, I hope, spark the viewer's curiosity and stimulate their imagnation to propel and enable the objects to perform their intended satirical purpose. My creative process starts with intuitive pencil sketches that resemble crude technical drawings. The drawings suggest machnes that might perform some imagnary function. I determine the function and then fkther refine the drawing. The final drawing becomes a reference point and sometimes a template for the building process. For further interpretation and intricacy, I allow for deviation from the drawing as I build. The buildmg process begms with an interior frame which is similar to house construction, except that I use clay slabs instead of framing boards. After the skeleton is complete, I enclose the structure and make any parts that must be added or assembled after firing. I use whatever type of builQng procedure necessary to complete the object; this may include coil building, wheel throwing, extruding shapes, and surface carving. Through these odd, imagnative gizmos and gadgets, I offer social commentary. I have chosen satire and humor to engage the viewer in various ways of looking at the modem world. This is an attempt to provoke joyful imagination and intrigue through the intricacy of the pieces. I also suggest my view of the current human condition through the precariousness of the various elements in these sculptures. Finally, my work is an attempt to provide another context from whch to view and respond to our place and time in history.

Premier grand prix de sculpture en 1919, le parisien Raymond Delamarre se positionne dans le nouvel ordre plastique néo-classique du groupe des prix de Rome des années 20 (peintres Dupas, Roganeau, Billotey, Pougheon et Despujols, sculpteurs Foucault, Janniot, Martial et Vézien, graveur Decaris, architectes Carlu, Roux-Spitz et Azéma). Porté par nature au colossal, il se libère de l’académisme de l’école des Beaux-Arts et concilie sa spécificité de médailleur et d’artiste-décorateur avec celle de la monumentalité. Recevant ses commandes d’architectes souvent prix de Rome, il est avant tout un sculpteur élégant aimant les allégories. Ses œuvres complexes se situent entre tradition décorative, hyperréalisme et modernité classicisante. Il puise sa plasticité volumétrique et ses simplifications aux sources de l’art grec archaïque et ses modèles techniques et stylistiques à la toreutique romaine. Sensible aux maniéristes italiens, il se réfère aussi à l’art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l’Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l’expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d’une identité nationale de l’art et montre qu’elle peut donner naissance à des créations puissantes, rythmées et inventives.italiens, il se réfère aussi à l’art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l’Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l’expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d’une identité nationale de l’art et montre qu’elle peut donner naissance à des créations puissantes, rythmées et inventives. / A first prize winner for sculpture in 1919, parisian-born Raymond Delamarre belongs to the neo-classical plastic order of the prize winners of the 20’s : painters Dupas, Roganeau, Billotey, Pougheon and Despujols, sculptors Foucault, Janniot, Martial et Vézien, engraver Decaris, architects Carlu, Roux-Spitz et Azéma. Attracted by colossal works, Delamarre gets free from the academic teachings of Beaux-Arts and reconciles his art as a medal-maker /decorator with a monumental one. Commissioned by architects, often Rome winners too, he is first and foremost a learned, elegant sculptor, with a liking for allegories, creating intricate works, half way between a decorative tradition, a high degree of realism and modern art. Volume plasticity and simplification of lines are derived from archaic Greek art and his technical and stylistic models from Roman toreutics. Influenced by Italian mannerists, he refers to French art in its various forms. The sinuous lines are borrowed from Ingres, Burne-Jones and Art nouveau, from Bourdelle’s synthetic art and Art Deco style. His agile mind’s eye is ensured by Rodin’s theory of profiles. The arrangement of his figures at various levels in his monumental reliefs are inspired by Janniot. His search for reliable references lend a historical, didactic and symbolical value to his work which, after the war, sometimes become too systematic. He is at his best when expressing very readable forms in original, poetic lines, akin to the daring attempts of cubists. However, he reasserts the continuity of a national identity of art, and shows that it can thus give birth to powerful, rythmic and greatly inventive plastic creations.

Student Number : 8546313 - PhD thesis - School of Arts - Faculty of Humanites / This thesis interrogates the extent to which the façades of, and decorative programmes in, selected South African public and commercial buildings erected during the decade 1930 – 40 may be understood as important indexes of the various ideological, social and historical concerns underpinning the construction of an imaginary of national belonging during this period. In the context of rapid urbanisation, burgeoning industrialisation, and rampant capitalism that characterise the period, issues of nationalism and political power are brought into sharp relief, with three political agendas competing for dominance: Afrikaner nationalism at one extreme and British imperialism at the other, with, from 1933 to the end of the decade, the insipid ‘South Africa First’ nationalism of the Smuts-Hertzog ‘fusion’ government occupying a highly contested space somewhere between the two. I argue in this thesis that the rhetoric of ‘unity in diversity’ that informs the fusion politics of the 1930s, and particularly its expression in the decorative programmes of public buildings provides for a more nuanced reading of the political and cultural landscape of 1930s South Africa than has been the case to date, where the focus has tended towards deconstructing the cultural nationalism of the 1930s in terms of the rise of Afrikaner nationalism. Moreover, it also serves as a compelling reference point against which to assess contemporary South African attempts to re-narrate notions of nationhood, and the extent to which difficult arguments around ethnicity, autochthony, and the construction of imaginary new ‘publics’ are articulated in post-apartheid public architecture. Chapter 1 is a review of the literature that informs this thesis; both as regards the art historical discourse on South African inter-World War art and architecture, as well as theoretical issues arising from writing on nationalism, national identity, and the role that art and architecture plays in evolving the nation code. In Chapters 2 and 3, I consider the ways in which the notions of identity arising from fusion politics are played out in the decorative programmes of two significant public buildings, South Africa House in London (1933) in Chapter 2 and the Pretoria City Hall (1935) in Chapter 3. I argue that both these buildings are classic examples of the manifestation in architectural terms of the hybrid identity being forged by the centrist ‘South Africa first’ ideologues, in so far as their decorative programmes express an uncomfortable alliance between the entrenched values of British imperialism and a burgeoning Afrikaner nationalism. In Chapter 4, I contrast the decorative programme of the headquarters of the new Afrikaner insurance companies SANTAM and SANLAM (1932) with that of the new corporate headquarters of the Commercial Union Assurance Company (1932), a British owned firm that had had a presence in Cape Town since 1863. The differences in effect of the decorative programmes of these two buildings serve to illuminate the extent of the ideological posturing of volkskapitalisme and its construction of a ‘modern African/Afrikaner’ identity within the imperialist heartland of Cape Town. These debates are brought into sharp relief by the third example discussed in this chapter, the Old Mutual building (1940), the decorative programme of which effectively conflates these concerns with modernity and nationalism in order to construct a hybrid ‘South Africanism’ that neatly elides Boer and Brit imaginings. In conclusion, I show in Chapter 5 how the post-apartheid South African situation presents an interesting case study in terms of constructing an imaginary of national belonging rooted in similar notions of ‘unity in diversity’. Examples here include important national architectural commissions like the legislature buildings for the newly constituted provinces of Mpumalanga (1999) and the Northern Cape (2003), as well as the new Constitutional Court in Johannesburg (2004). In this chapter, I interrogate these debates, and conclude by pointing to parallels with the case studies from the 1930s. The post-1994 examples in question have been widely celebrated as exemplary of a new and appropriate response to the challenges of public building in democratic South Africa. I suggest, however, that the lessons of the 1930s should serve as a reminder that the ostensible dichotomy between ‘good’ (civic) and ‘bad’ (ethnic) nationalism is perhaps not as natural and obvious as it may appear, and that both are equally problematic.

This thesis examines works by the British interwar writers W.H. Auden and Louis MacNeice in the context of their relationship with the contemporary style of visual art known as Art Deco or the Moderne. It is my contention that, having absorbed many of the Art Deco idioms as an accepted part of the world they experience, these are reflected in the writers' works, firmly relating the work to a unique historical moment, place and social and cultural environment. In my reading of their work I identify sources of inspiration in their themes, idioms and imagery common to the artistic style, and investigate the extent to which their work has been informed in content and composition by visual art. Using diaries, travelogues, letters, essays, prose and poetry, I will argue that if Art Deco characterised the interwar period, it follows that it will also characterise the work of Auden and MacNeice. As such, I seek to reframe their work in an entirely new context, one seemingly unnoticed by earlier critics. My project also considers the ways in which a worldview is formed and environments are learned from childhood, with reference to early twentieth-century psychologists Erich Fromm, Lev Vygotsky and Maria Montessori, in order to posit the notion that growing up in the heyday of Art Deco, Auden and MacNeice may have subceived a great many of its motifs. I also identify the ways in which the writers engage visual art with intent, and establish a relationship between the writers and Art Deco's politics, imagery and composition through discussion of individual poems and their co-authored book Letters From Iceland (1937). In particular, the thesis examines the presence and impact of Art Deco elements in their work, such as Cubism (using both visual and literary examples), Futurism, the cinema, the Ballets Russes, and interwar attempts at producing what Wagner termed gesamtkunstwerk, the 'total work of art'.

SCHRAMM, Solange Maria de Oliveira. Arquitetura do Estado Nacional: o estilo Art Déco e o edifício da Estação Ferroviária Central do Brasil. 2015. 236f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-16T12:50:59Z No. of bitstreams: 1 2015_tese_smoschramm.pdf: 8151830 bytes, checksum: e83a18257502e1005fe0072e663e099e (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-12-16T13:18:26Z (GMT) No. of bitstreams: 1 2015_tese_smoschramm.pdf: 8151830 bytes, checksum: e83a18257502e1005fe0072e663e099e (MD5) / Made available in DSpace on 2015-12-16T13:18:26Z (GMT). No. of bitstreams: 1 2015_tese_smoschramm.pdf: 8151830 bytes, checksum: e83a18257502e1005fe0072e663e099e (MD5) Previous issue date: 2015 / The purpose of this thesis is to sociologically construct an analysis and interpretation of architecture as a symbolic expression of the Nation State. The genesis and characteristics of the Art Deco style are investigated, as well as its use as an aesthetic form suited to modelling the physiognomy of the machine of state. Art Deco predominated in buildings constructed to house the public administration, which had been reorganised and extended between 1930 and 1945 in Brazil. In particular, this research proposes to formulate a sociological interpretation of the imposing edifice of the Central do Brasil Railway Station, constructed in the city of Rio de Janeiro between 1936 and 1943, which was designed in the Art Deco style. This architectural landmark is analyzed as a reference work of the modernizing thinking of the centralizing and authoritarian state that was emerging at the time. / Esta tese consiste no empenho de construir sociologicamente uma análise e interpretação da arquitetura como expressão simbólica do Estado Nacional. Investiga a gênese e características do estilo Art Déco e seu uso como forma estética adequada à modelagem da fisionomia da máquina estatal. O Art Déco foi predominante em edifícios construídos para abrigar a administração pública, reorganizada e ampliada, entre os anos 1930 e 1945, no Brasil. A pesquisa propõe, em especial, uma interpretação sociológica do imponente edifício da Estação Ferroviária Central do Brasil, erguido na cidade do Rio de Janeiro, entre os anos de 1936 e 1943, concebido consoante aquele estilo. Esse marco arquitetônico é analisado como obra referencial do ideário modernizante do Estado centralizador e autoritário que então emergia.

Architecture is a form of human expression with its surroundings, making the scenery around a living organism in constant evolution and transformation. It is a record of the time that protects artistic, human and cultural expression of people throughout their stories, that is, from past periods buildings that manage to stay in the current landscape, allowing us to know the society, culture, daily life, relationships, materials and technologies used, both for its construction and for arranging the interiors of our ancestors. An example of this was the hydraulic tile, object of study of this research and an important decorative coating, widely used not only in Brazil but worldwide. The hydraulic tile is a form of artistic expression that persists to the present day, where its manual production is increasingly being lost, since currently very few companies still work with the production of these pieces. Thus, this research aims to conduct a survey on the patterning of the samples of hydraulic tile floor coverings that still persevere in real state's Art Déco, consolidated style in the years of 1920-1940, in the boundary of the researched zone: Zone 2, Historical Center of Santa Maria. For a better foundation and greater understanding of the problem, this study used a qualitative and quantitative methodology. It began with a bibliographic research about the main topics to be analyzed during the investigation, such as the history of the city of Santa Maria, its situation during the period under review, the Art Déco, hydraulic coatings used at the time, as well as the hydraulic tile as cultural heritage worthy of preservation. After the search of theoretical basis, began the data collection in the historic center of the city in order to find the remaining hydraulic tiles of the Art Déco period. Thirty-six patterns were found in thirty-two Déco buildings, however, it was realized that the population living in these areas did not have awareness of the importance of preserving these assets accounted for exposing part of our aesthetic architectural, social and cultural heritage. Thus this research also seeks to collaborate with the awareness, knowledge and preservation of the use of hydraulic tile through a brochure that will elucidate the community about the importance of preserving these assets. / A arquitetura é a forma de expressão do homem com seu entorno, fazendo do cenário ao seu redor um organismo vivo em constante evolução e transformação. É um registro do tempo que resguarda a expressão humana, artística e cultural dos povos no decorrer de suas histórias, ou seja, edificações de períodos passados que conseguem manterem-se na paisagem atual, permitindo-nos conhecer a sociedade, as culturas, o cotidiano, as relações, os materiais e as tecnologias utilizadas, tanto para sua construção, quanto para arranjar os interiores de nossos antepassados. Um exemplo disso foi o ladrilho hidráulico, objeto de estudo desta investigação e um importante revestimento decorativo, muito utilizado não só no Brasil, como no mundo todo. O ladrilho hidráulico é uma forma de manifestação artística que persiste até os dias atuais, onde sua produção manual está cada vez mais se perdendo, já que atualmente poucas empresas ainda trabalham com a produção dessas peças. Assim, a presente pesquisa, tem como finalidade realizar um levantamento sobre a padronagem dos exemplares dos pisos de revestimento em ladrilho hidráulico que ainda perseveram-se nos imóveis Art Déco, estilo consolidado nos anos de 1920 à 1940 da zona limítrofe da pesquisa: a Zona 2, Centro Histórico de Santa Maria. Para melhor fundamentação e maior entendimento do problema, essa pesquisa se utilizou de uma metodologia de cunho qualitativo e quantitativo. Teve início com pesquisas bibliográficas acerca dos principais tópicos a serem analisados no decorrer da investigação como a história da cidade de Santa Maria, sua conjuntura durante o período em análise, o Art Déco, os revestimentos hidráulicos utilizados na época, assim como, o ladrilho hidráulico como patrimônio cultural digno de preservação. Posterior à busca da fundamentação teórica, teve início à coleta de dados no centro histórico da cidade a fim de encontrar ladrilhos hidráulicos remanescentes do momento Art Déco. Trinta e seis padronagens foram encontradas em trinta e duas edificações Déco, porém, percebeu-se que a população residente nessas áreas não possui ciência da importância em se preservar estes bens responsáveis por expor parte do nosso patrimônio arquitetônico estético, social e cultural. Desta forma, esta investigação também busca colaborar com a conscientização, conhecimento e preservação do uso do ladrilho hidráulico, através de um folheto que elucidará a comunidade sobre a importância em se preservar esses bens.

abstract: The author explores the influences on the interiors of Hollywood films of the late 1920s and 30s. The Exposition des Arts Décoratifs et Industriels Modernes, Paris 1925 is examined in historical context and its influence on design trends internationally. The Hollywood film industry is examined, in general, and Metro-Goldwyn-Mayer and its longtime art director, Cedric Gibbons, in particular. Eight MGM films are discussed and their interiors analyzed for related influence from the 1925 Paris Exposition. The thesis makes a case for the influence of the 1925 Paris Exposition on Cedric Gibbons and the interiors of the MGM films of the late 1920s and 30s. / Dissertation/Thesis / AnnRishell Art Deco database / Masters Thesis Design 2014

This study integrates the fields of Design and Cultural Heritage in order to communicate meanings and values of tangible and intangible. It set the following objectives: to identify, select and document, through iconographic material, examples of Art Deco architecture in the Historic Centre of Santa Maria, Rio Grande do Sul, using the architectural framework selected as the inspiration for the design and production of a jewelry collection, final product of this research; contribute to a new way to looking at Santa Maria architectural heritage, especially the Art Deco, as memory, identity and narrative culture and history of the city. The research was didactically structured in three chapters. Chapter I - Literature Review, contextualized study exploring the following themes: Culture, Cultural Heritage, City of Santa Maria, Art History, Product Design, and Semiotics. Chapter II - Methodology, describes the steps undertaken, presented the data obtained from field research and iconographic documentation. Chapter III - Dissertation Results & Discussion, introduced the final product from the research whereas analysis and discussion of the results. Considering the objectives outlined, it was observed they were achieved as the final product contains the characteristics of this research to which it has initially purposed. The jewelry collection "Art Deco Memory" in essence brings a strong and well defined concept, which refers to the bias Deco architecture, providing high added value to the product, mainly because of the theoretical sources that supported the construction of thought and the process of creation. Reframe this heritage in the world figured jewel as a way of evaluating and disseminating the cultural heritage of a particular time and space, providing opportunities for the community to identify its roots and memories, and, as appropriate, construct and reconstruct their values and history. / O presente estudo integra os campos do Design e do Patrimônio Cultural com o intuito de comunicar significados e valores materiais e imateriais. Assim, estabeleceu os seguintes objetivos: identificar, selecionar e documentar, através de material iconográfico, exemplares da arquitetura Art Déco no Centro Histórico da cidade de Santa Maria, Rio Grande do Sul, utilizando o conjunto arquitetônico selecionado como referencial para o desenho e produção de uma coleção de joias, produto final dessa investigação; contribuir para um novo olhar ao patrimônio arquitetônico santa-mariense, sobretudo o Art Déco, enquanto memória, identidade e narrativa da cultura e da história do município. A pesquisa foi didaticamente estruturada em três capítulos. O Capítulo I, Revisão Bibliográfica, contextualizou o estudo, explorando os seguintes temas: Cultura, Patrimônio Cultural, Cidade de Santa Maria, História da Arte, Design de Produto, e Semiótica. O Capítulo II, Metodologia, descreveu as etapas desenvolvidas, apresentou os dados obtidos a partir da pesquisa de campo e a documentação iconográfica. O Capítulo III, Resultados e Discussão, apresentou o produto final da investigação, bem como a análise e a discussão dos resultados obtidos. Considerando os objetivos delineados, observou-se que os mesmos foram atingidos, na medida em que o produto final dessa pesquisa encerra as características a que se propôs inicialmente. A coleção de joias "Memória Art Déco" traz em sua essência um conceito forte e bem definido, o qual remete à arquitetura de viés Déco, conferindo um elevado valor agregado ao produto, sobretudo em razão do aporte teórico que fundamentou a construção do pensamento e do processo de criação. Resignificar esse patrimônio no mundo objetual da joia figurou como um modo de valorar e difundir heranças culturais de um determinado tempo e espaço, oportunizando à sociedade identificar suas raízes e memórias; e, a partir disso, construir e reconstruir seus valores e sua trajetória.