No description available.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Graduação em Arquitetura e Urbanismo / Made available in DSpace on 2012-10-26T11:41:17Z (GMT). No. of bitstreams: 1 309942.pdf: 12642865 bytes, checksum: c66cec687a3fe90d93133ca7b99e49ba (MD5) / Algumas cidades brasileiras tiveram o auge do seu desenvolvimento durante a expansão do Art Déco no Brasil, por esta razão contém hoje conjuntos edificados desse estilo. A falta de conhecimento da população e especialistas que atentem para o valor arquitetônico e histórico que possuem as edificações Art Déco tem gerado desvalorização e ausência de medidas preservacionistas em diversas cidades. Este trabalho busca analisar as edificações Art Déco para compreender a sua importância no contexto da paisagem urbana. Buscou-se analisar por pesquisa bibliográfica a importância da linguagem Art Déco na arquitetura e como representação de um período histórico no contexto da paisagem urbana. A manutenção da paisagem urbana na cidade de Criciúma através da preservação de seus referenciais históricos também foi analisada na pesquisa bibliográfica. Para complementar os dados alcançados foi realizada uma pesquisa de campo na Rua Conselheiro João Zanette, no município de Criciúma/Santa Catarina. Foi possível identificar e caracterizar as edificações Art Déco da rua em questão por meio de um inventário, específico para esta pesquisa, criado pela autora. A leitura da paisagem urbana, onde estão inseridas as edificações inventariadas, foi feita pelos aspectos físicos e sociais. Os aspectos físicos foram por meio de levantamento de dados. Os aspectos sociais compreenderam histórico da Rua Conselheiro João Zanette por meio de pesquisa bibliográfica e percepção ambiental por meio de questionários aplicados para usuários da paisagem pesquisada. Observou-se através desta pesquisa que os usuários reconhecem as edificações Art Déco por sua importância histórica para a cidade, mas faltam ações do poder público que incentivem sua preservação. Na paisagem urbana estudada, as edificações em Art Déco perdem sua força devido ao excesso de elementos físicos que dificultam a orientabilidade do usuário e a apreensão da paisagem. A manutenção da paisagem urbana é essencial para preservação do caráter histórico que apresenta

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.

[Abstract]: This is research on cultural identity and the history of design. The project, by applying aspects of postcolonial theories (third space, border theory and hybridity) to the history of the four women designers in the Art Deco period in Europe, explores the influences of Eastern cultures in developing their Western designperspective.Their experience in fighting against patriarchal society toward success is a useful analogy for my country Taiwan’s struggle to win recognition in the world. It isthrough the recognition of these four women designers’ contributions to design history that I present their stories as models to my design students in Taiwan toassist them in establishing their own design identity.The research findings indicate that these women designers’ benefited from Eastern culture and created a successful cultural mélange between the East and West. Similarly, my design students in Taiwan will have the opportunity toreverse the pathway in appropriating from the West to create new possibilities in the East. I argue that hybridity is a key component for responding to and foraddressing the identity crisis and internal disruption in present-day Taiwan. Through knowing and understanding these women designers’ achievements, Taiwanese students have a model for self-reflection to recognise the importance of our own cultural value to the world.

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.