Trata-se de estudo investigativo de mão dupla acerca do art déco enquanto expressão primaz do moderno - não modernista - na Obra Getuliana, que assinalada pelos inúmeros edifícios públicos erigidos no período de 1930 a 1945, contribuiu para disseminá-lo no país. A princípio buscou-se explicitar em forma de panorama, uma parcela da vultosa produção arquitetônica oficial desse período, a cargo das seções de engenharia e arquitetura dos ministérios civis. Para tal, recorreu-se ao universo das exposições propagandísticas das realizações do governo estadonovista, ocorridas a partir de 1938 no antigo Distrito Federal, nas quais a Obra Getuliana esteve em evidência. A saber: Exposição do 30º aniversário do Ministério da Viação e Obras Públicas (1938); Exposição do Estado Novo (1938); Exposição do Ministério da Guerra (1941); e Exposição de Edifícios Públicos (1944). Como meio de se atestar o proposto, particularizou-se as produções do Ministério da Viação e Obras Públicas (MVOP) e Ministério da Educação e Saúde (MES), centradas respectivamente na arquitetura postal do Departamento de Correios e Telégrafos (DCT) e hospitalar relativa aos sanatórios para tuberculosos. Intentou-se também remontando o \"sistema de obras\" criado em 1939 para coordenar a referida produção oficial, e gerido pelo Departamento Administrativo do Serviço Público (DASP), entendê-la como alvo da política de racionalização dos serviços públicos pelo órgão máximo do executivo. Evidenciar as preocupações arquitetônicas oficiais relacionadas à estética e monumentalidade requeridas para os edifícios públicos nascidos dentro de um contexto político autoritário, mas progressista, foi outra forma de se averiguar a preponderância do art déco na Obra Getuliana. Nesse quesito, lançou-se mão da Revista do Serviço Público (1937-), veículo de comunicação entre Governo e funcionalismo, e de importantes registros da Obra e seu \"sistema\". / This is a two way investigative study about Art Deco whereas prime expression of the modern, but not modernist, in the Obra Getuliana, which was marked by numerous public buildings erected in the period from 1930 to 1945, thereby contributing to disseminate it in the country. At first we tried to explain it in shaped of panorama, a portion of the bulky official architectural production of this period, in charge of the sections of civil engineering and architecture departments. To this end, we adopted the universe of propagandistic exhibition of the achievements of the New State government occurred since 1938 in the former Federal District , in which the Obra Getuliana was in evidence . Namely : Exhibition of the 30th anniversary of the Ministry of Roads and Public Works (1938) ; Exposition of the New State (1938); Exhibition of the Ministry of War (1941) and Exhibition of Public Buildings (1944). As a means of proving the proposed, it was particularized the productions of the Ministry of Roads and Public Works (MVOP) and Ministry of Education and Health (MES), centered respectively on postal architecture of the Department of Posts and Telegraphs (DCT) and hospital on sanatoriums for tuberculosis. It was also attempted reassembling the \"system of works\" created in 1939 to coordinate such official production , and managed by the Administrative Department of Public Service (DASP),to understand it as a target for rationalization of public services policy by the highest body of the executive . Another way to determine the preponderance of art deco style in Obra Getuliana was to highlight the oficial architectural concerns related to aesthetics and monumentality required for those public buildings that were born within an authoritarian political context, but progressive. In this aspect, it made use of the Journal of Public Service (1937), vehicle of communication between government and civil service, and important records of the Obra and its \"system\".

Charles Masson (1894-1971) est un des principaux architectes de l’entre-deux-guerres à Nancy. Cette période de l’histoire de l’architecture à Nancy et en Lorraine est encore en cours d’étude. Adoptant la forme classique d’une monographie d’architecte, cette thèse y apporte sa contribution mais en tentant d’élargir l’étude par la connaissance des commanditaires. Elle s’attache d’abord à établir la biographie de cet architecte né en Moselle annexée et dont la formation en Allemagne lui donne un profil singulier. Le corpus des édifices bâtis par Masson au nombre de 57 a été défini, étudié et réuni dans un catalogue qui constitue le troisième volume de la thèse. Géographiquement, ils se trouvent principalement à Nancy et, pour presque la moitié d’entre eux, dans le fameux Parc de Saurupt, haut lieu de l’architecture Art nouveau et où Masson s’est fortement investi, mais du point de vue de leur statut, ils ne comptent que des villas ou des maisons et des immeubles, mais aucun bâtiment public. Masson présente la particularité rare de n’avoir travaillé à Nancy que pour l’architecture domestique. Les 41 commanditaires identifiés sont donc tous des particuliers, à l’origine et au profil social variés, appartenant généralement à la bourgeoisie fortunée. La synthèse se penche non seulement sur la vie et les constructions de Masson, mais tente aussi de saisir les relations entre l’architecte et ses clients, question qui jusqu’ici, pour ce qui concerne l’architecture de l’entre-deux-guerres, n’a pas été traitée sérieusement ni systématiquement. C’est un des intérêts de cette thèse de tenter d’aborder de front la question de la clientèle de l’architecte Masson. Pour cela, l’apport des archives s’avère essentiel mais, si la très grande majorité des plans dressés par Masson a été conservée, aucune correspondance n’a été retrouvée. On y a suppléé en étudiant finement le profil social de chaque commanditaire et en examinant les plans et l’architecture de chaque édifice pour en identifier les partis pris et deviner les souhaits des clients : leur rêve de villa ou leur désir de profiter des bonnes affaires dans l’immobilier. Cette étude révèle donc un architecte nancéien méconnu malgré l’importance de son œuvre et se veut une contribution à la connaissance de l’architecture domestique et de la clientèle des architectes de l’entre-deux-guerres / Charles Masson (1894-1971) was one of the leading architects of the interwar period in Nancy. People are still studying the effects of this historical and architectural period in Nancy and Lorraine. Adopting the classic form of an architectural monograph, this thesis both contributes to these studies and tries to broaden the study by mentioning the patrons. First of all, it focuses on the life of this architect, born in Moselle when Moselle was a part of Germany and whose German upbringing gives his work a unique character. Masson's oeuvre consists of 57 buildings, which have all been defined, studied, and collected together in a catalog, which constitutes the third volume of this thesis. Geographically, they are primarily located in Nancy and almost half of them are located in the famous Parc de Saurupt, the Mecca of Art Nouveau architecture and where Masson invested a lot of his time and effort, but when it comes to the types of buildings, he only designed villas, houses, and apartments. There are no public buildings in his work. Masson is unique in having only worked on residential architecture in Nancy. The 41 identified patrons are therefore all individuals, who all come from a variety of backgrounds and social classes, generally belonging to the wealthy bourgeoisie. This thesis not only looks at the life and work of Masson, but also attempts to understand the relationship between the architect and his clients, an issue which up to now, as far as the architecture of the interwar period is concerned, has not been treated seriously or systematically. It is one of the primary goals of this thesis to try to address the nature of Masson's clientele head-on. For this, the archives have proven essential, but no correspondence has yet been found despite the vast majority of the plans drawn up by Masson having been preserved. We supplemented this by carefully studying the social profile of each patron and by examining the plans and architecture of each building. We were able to identify their biases and estimate the client’s wishes, whether they dreamed of owning a luxury villa or were looking for a bargain property. This study has revealed an unknown architect from Nancy, who despite the importance of his work, has helped contribute to the knowledge of the domestic architecture and the clientele of the architects of the interwar period

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2014-10-06T10:45:36Z No. of bitstreams: 7 Dissertação-Daniella Medeiros Moreira Rocha - 2013 (1).pdf: 15801916 bytes, checksum: 0b05660a9e263c1da4204536b0e56871 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (2).pdf: 15676966 bytes, checksum: 14c5483474603d8a9d0511d3bceb46ac (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (3).pdf: 13776768 bytes, checksum: fd1891ee713ec6ee3bd869c8b555b31c (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (4).pdf: 15705470 bytes, checksum: f733031fb9deed4871424e7b1edd8bdc (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (5).pdf: 16753983 bytes, checksum: 5c3116b2bb7bde75782d6a9bea854266 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (6).pdf: 12309120 bytes, checksum: f2daa3bc673f5f55b04314d2d1d2cd4a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-10-06T10:48:21Z (GMT) No. of bitstreams: 7 Dissertação-Daniella Medeiros Moreira Rocha - 2013 (1).pdf: 15801916 bytes, checksum: 0b05660a9e263c1da4204536b0e56871 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (2).pdf: 15676966 bytes, checksum: 14c5483474603d8a9d0511d3bceb46ac (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (3).pdf: 13776768 bytes, checksum: fd1891ee713ec6ee3bd869c8b555b31c (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (4).pdf: 15705470 bytes, checksum: f733031fb9deed4871424e7b1edd8bdc (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (5).pdf: 16753983 bytes, checksum: 5c3116b2bb7bde75782d6a9bea854266 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (6).pdf: 12309120 bytes, checksum: f2daa3bc673f5f55b04314d2d1d2cd4a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-06T10:48:21Z (GMT). No. of bitstreams: 7 Dissertação-Daniella Medeiros Moreira Rocha - 2013 (1).pdf: 15801916 bytes, checksum: 0b05660a9e263c1da4204536b0e56871 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (2).pdf: 15676966 bytes, checksum: 14c5483474603d8a9d0511d3bceb46ac (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (3).pdf: 13776768 bytes, checksum: fd1891ee713ec6ee3bd869c8b555b31c (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (4).pdf: 15705470 bytes, checksum: f733031fb9deed4871424e7b1edd8bdc (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (5).pdf: 16753983 bytes, checksum: 5c3116b2bb7bde75782d6a9bea854266 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (6).pdf: 12309120 bytes, checksum: f2daa3bc673f5f55b04314d2d1d2cd4a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-07-21 / 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. / 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.

There has been increased attention given in the tourism literature to experiential perspectives of tourism. This thesis addresses the lack of attention in previous experiential studies to the relationship between heritage buildings and tourism. Specifically, this thesis explores the influence of heritage buildings in shaping international tourists' experiences of a particular region of New Zealand: Hawke's Bay. This research sought insight into the specific attributes of heritage buildings that influenced the experiences of international tourists visiting the region, and examined the relative importance of heritage buildings for international tourism to Hawke's Bay, as perceived by international tourists visiting the region. In this way, results are assumed in the personal constructs of individual consumers (Beeho Prentice, 1997; Prentice, Witt Hamer, 1998; McIntosh Siggs, 2005). An increased understanding of the relationship between heritage buildings and tourism is essential in strengthening support for preservation, for product development and promotion. A mixed-methodology comprising of 50 semi-structured interviews, 66 photograph-supported interviews and 354 structured questionnaires was adopted. Hawke's Bay's heritage buildings were found to have an important influence on tourists' experiences of the region, visually and as part of the narratives of their reported experiences. Attributes of Hawke's Bay's heritage buildings that influenced tourists' experiences of the region included their architecture, exterior and interior design, colour, history and associated stories. Furthermore, the interviews elicited three key experiential themes that emerged from respondents' narratives of their experiences in Hawke's Bay. They are; 'visual appeal', 'personal reflections' and 'engaging experiences'. Specifically, it was found that a townscape is not a passive space. Heritage buildings render the townscape an experiential place filled with emotion, mindfulness, engagement, and imbued with personal meaning. Visitors in effect created their own experiences through their active interaction with the environment; rendering it relevant to a context they were personally interested in, or which held personal significance for them. Analysis of the questionnaires revealed that, as perceived by international tourists, heritage buildings are important to a region; a significant proportion of respondents indicated that they would theoretically be willing to pay some money to ensure the preservation of Hawke's Bay's heritage buildings. This thesis evidences the important relationship between heritage buildings and tourism, and future research is advocated to advance upon the conclusions made in this research.

Made available in DSpace on 2015-04-01T11:58:32Z (GMT). No. of bitstreams: 1 parte1.pdf: 6460448 bytes, checksum: c9c9f4dcce9c863fa23fe595d15fc0f7 (MD5) Previous issue date: 2011-09-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main goal of this dissertation is to investigate the relation between the architectural production of Art Deco affiliation and João Pessoa urban network inception and expansion process in the years 1932-1955, based on the link between the architecture and city. This relation analysis is enhanced when it is understood that some innovations are only possible, and in some cases mandatory, if the place enables the building deployment. The research scope was delimited in seven areas considering the city occupied area until the beginning of 1950´s, developing seventeen setorial maps from the researched excerpts based on actual pictures from buildings under research, highlighting the reformed urban areas in the first half of the twentieth century. The Art Deco architectural manifestations are analyzed from the definition of six key criteria determining the architecture specifications and its relation with the city. / O objetivo desta dissertação é investigar, a partir do vínculo entre arquitetura e cidade, a relação da produção arquitetônica de filiação Art Déco com o processo de formação e expansão da malha urbana em João Pessoa entre os anos de 1932- 1955. A análise desta relação torna-se mais rica quando se entende que algumas inovações só são possíveis, ou até obrigatórias, em função do lugar em que o edifício é implantado. O universo de pesquisa foi delimitado, considerando-se a área ocupada na cidade até início dos anos 1950, subdividindo-o em sete áreas e realizando dezessete mapas setoriais dos trechos pesquisados com fotografias atuais das edificações em estudo, destacando-se as áreas que foram alvo das reformas urbanas na primeira metade do século XX. Analisa-se as formas de manifestações da arquitetura Art Déco, a partir da definição de seis critérios fundamentais que determinam as especificidades desta arquitetura e da relação da mesma com a cidade.

La période de l’entre-deux-guerres en France correspond à une phase de renaissance pour l’Art sacré. Après la loi de Séparation de 1905, l’Église dut se réorganiser, renouveler son message spirituel et inscrire concrètement son action au sein d’une société en mutation. La création d’ateliers d’art sacré et le lancement des Chantiers parisiens du cardinal Verdier, soutenus par plusieurs publications comme la revue de L’Art Sacré, insufflèrent une impulsion nouvelle à la production religieuse. Le diocèse de Bayonne participa pleinement à cet essor. Souscrivant, d’une manière originale et dynamique, à cette nouvelle configuration, il tenta d’y inclure les particularismes régionaux en faisant notamment apparaître les spécificités identitaires basque et béarnaise. L’action conjointe des évêques et des curés bâtisseurs, des architectes, des maîtres verriers et mosaïstes, des peintres, des sculpteurs ou même des orfèvres, témoigne de la réécriture de schémas anciens, voire conventionnels, au profit d’un art hésitant entre audaces et compromis. C’est en effet sous les bannières de la tradition et du renouveau, du régionalisme et de la modernité que se situe l’art sacré dans le diocèse de Bayonne. / The interwar years in France witnessed a revival of sacred Art. After the 1905 law on the separation of Church and State, the Church had to reorganize and renew its spiritual message and reposition its action in the context of a changing society. The creation of religious art workshops as well as the launching of the Parisian “Chantiers du Cardinal”, initiated by cardinal Verdier, supported by a number of reviews such as L’Art Sacré, gave a new impulse to the production of religious art. The diocese of Bayonne took a full part in this initiative. It was keen to contribute in original and dynamic ways to this new direction and tried to include regional elements and in particular features reflecting Basque and Bearnais identities. The joint work done by bishops and priests involved in building churches, architects, glassmakers and mosaic artists, painters, sculptors and even goldsmiths, shows how well-established and even conventional designs were revisited to produce an art which hesitated between daring innovation and compromise. Indeed, the sacred art of the diocese of Bayonne was marked by a mixture of tradition and renewal, regionalism and modernity.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-06-08T12:00:09Z No. of bitstreams: 2 Dissertação - Guilherme Araújo Cardoso Teixeira - 2017.pdf: 8446280 bytes, checksum: fd1ed2f38adcd8d76269d93a966a1225 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: reveja o nome do autor na citação on 2017-06-08T12:02:25Z (GMT) / Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-06-08T12:12:40Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Guilherme Araújo Cardoso Teixeira - 2017.pdf: 8446280 bytes, checksum: fd1ed2f38adcd8d76269d93a966a1225 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-06-08T12:12:53Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Guilherme Araújo Cardoso Teixeira - 2017.pdf: 8446280 bytes, checksum: fd1ed2f38adcd8d76269d93a966a1225 (MD5) / Made available in DSpace on 2017-06-08T12:12:53Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Guilherme Araújo Cardoso Teixeira - 2017.pdf: 8446280 bytes, checksum: fd1ed2f38adcd8d76269d93a966a1225 (MD5) Previous issue date: 2017-05-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work explore the development of an digital 2D animation that presents a graphic and aesthetic deco with its geometrical and angular shapes, connected mainly with the 30´s Art deco posters. Building a visual narrative, within a historical context using a Goiania Architectural project in 40´s, the work consists to create a feeling of the birth of the city. The historical center of the capital, where the Art deco lives, will be the main attraction. / Essa pesquisa foi desenvolvida com o objetivo de produzir uma animação 2D digital que trabalhe uma estética gráfica e visual déco com suas formas geométricas e angulares, ligadas principalmente aos cartazes e pôsteres Art déco da década de 1930. Construindo uma narrativa visual, no contexto histórico e arquitetônico Art déco de Goiânia dos anos 40, pretende-se reavivar a euforia ligada ao nascimento da cidade. Propõe-se como atração principal a arquitetura do centro histórico da capital, onde o Art déco se faz mais presente.

Trata-se de estudo investigativo de mão dupla acerca do art déco enquanto expressão primaz do moderno - não modernista - na Obra Getuliana, que assinalada pelos inúmeros edifícios públicos erigidos no período de 1930 a 1945, contribuiu para disseminá-lo no país. A princípio buscou-se explicitar em forma de panorama, uma parcela da vultosa produção arquitetônica oficial desse período, a cargo das seções de engenharia e arquitetura dos ministérios civis. Para tal, recorreu-se ao universo das exposições propagandísticas das realizações do governo estadonovista, ocorridas a partir de 1938 no antigo Distrito Federal, nas quais a Obra Getuliana esteve em evidência. A saber: Exposição do 30º aniversário do Ministério da Viação e Obras Públicas (1938); Exposição do Estado Novo (1938); Exposição do Ministério da Guerra (1941); e Exposição de Edifícios Públicos (1944). Como meio de se atestar o proposto, particularizou-se as produções do Ministério da Viação e Obras Públicas (MVOP) e Ministério da Educação e Saúde (MES), centradas respectivamente na arquitetura postal do Departamento de Correios e Telégrafos (DCT) e hospitalar relativa aos sanatórios para tuberculosos. Intentou-se também remontando o \"sistema de obras\" criado em 1939 para coordenar a referida produção oficial, e gerido pelo Departamento Administrativo do Serviço Público (DASP), entendê-la como alvo da política de racionalização dos serviços públicos pelo órgão máximo do executivo. Evidenciar as preocupações arquitetônicas oficiais relacionadas à estética e monumentalidade requeridas para os edifícios públicos nascidos dentro de um contexto político autoritário, mas progressista, foi outra forma de se averiguar a preponderância do art déco na Obra Getuliana. Nesse quesito, lançou-se mão da Revista do Serviço Público (1937-), veículo de comunicação entre Governo e funcionalismo, e de importantes registros da Obra e seu \"sistema\". / This is a two way investigative study about Art Deco whereas prime expression of the modern, but not modernist, in the Obra Getuliana, which was marked by numerous public buildings erected in the period from 1930 to 1945, thereby contributing to disseminate it in the country. At first we tried to explain it in shaped of panorama, a portion of the bulky official architectural production of this period, in charge of the sections of civil engineering and architecture departments. To this end, we adopted the universe of propagandistic exhibition of the achievements of the New State government occurred since 1938 in the former Federal District , in which the Obra Getuliana was in evidence . Namely : Exhibition of the 30th anniversary of the Ministry of Roads and Public Works (1938) ; Exposition of the New State (1938); Exhibition of the Ministry of War (1941) and Exhibition of Public Buildings (1944). As a means of proving the proposed, it was particularized the productions of the Ministry of Roads and Public Works (MVOP) and Ministry of Education and Health (MES), centered respectively on postal architecture of the Department of Posts and Telegraphs (DCT) and hospital on sanatoriums for tuberculosis. It was also attempted reassembling the \"system of works\" created in 1939 to coordinate such official production , and managed by the Administrative Department of Public Service (DASP),to understand it as a target for rationalization of public services policy by the highest body of the executive . Another way to determine the preponderance of art deco style in Obra Getuliana was to highlight the oficial architectural concerns related to aesthetics and monumentality required for those public buildings that were born within an authoritarian political context, but progressive. In this aspect, it made use of the Journal of Public Service (1937), vehicle of communication between government and civil service, and important records of the Obra and its \"system\".

We can avoid the loss of the existing heritage by making it object of study, thus contributing to value our historicity and preservationism. This paper aspires to better support the development project of Restoration and Readjustment of Casa de Cultura of Santa Maria through knowledge and preservation. The former Palácio da Justiça, where Casa de Cultura of Santa Maria currently is, was built in the 1940 s. It is preserved by heritage since 2009 by the City Hall as a Historic and Cultural Heritage of Santa Maria. The building has an Art Deco style. Its facade, rich in structural, keeps its original configuration. Nowadays, the Casa houses cultural and artistic associations and the Municipal Art School Eduardo Trevisan (EMAET), which offers courses in art history, theater, singing and music, held in inappropriate spaces though. Theoretical references were approached as sources for the development of this research, mainly Art Deco, besides concepts related to pathological manifestations and causes for degradation of historic buildings and their forms of representation. Considering all the objectives, such as detailing discovered problems and propose a plan for the preservation, a compromised state of conservation was verified, which accounts for the importance of the restoration project. Finally, as a preventive measure, a preservation plan is proposed, thus increasing the responsibility of future administrators of this building, so that it is kept in good state. / Pode-se evitar a perda dos patrimônios existentes tornando-os objetos de estudo, contribuindo assim para a valorização de uma vertente de nossa historicidade e preservacionismo. Este trabalho surge do anseio de maior conhecimento, preservação e para melhor atender o projeto em desenvolvimento de Restauração e Readequação da Casa de Cultura de Santa Maria. O antigo Palácio da Justiça, atual Casa de Cultura de Santa Maria, datado da década de 1940, é um bem tombado desde 2009 pelo Poder Executivo Municipal como Patrimônio Histórico e Cultural do Município e consiste em um prédio, estilo Art Decó, de grande porte. Sua fachada rica em detalhes estruturais mantém sua configuração original. Atualmente, a Casa abriga associações culturais e artísticas e a Escola Municipal de Arte Eduardo Trevisan (EMAET), que disponibiliza cursos de história da arte, teatro, canto e música, porém sem espaços adequados. Como subsídios para o desenvolvimento da pesquisa foram abordados referenciais teóricos, sobretudo o Art Déco, além de conceitos referentes às manifestações patológicas e fatores de degradação das edificações históricas e suas formas de representação. Considerando os objetivos delineados no trabalho, tais como detalhar problemas encontrados e propor um plano de preservação, constatou-se o comprometimento no estado de conservação do local, atentando para a importância de que o projeto de restauração seja executado. Por fim, como medida preventiva, propõe-se um plano de preservação, acrescendo um fator de responsabilidade aos futuros administradores desse bem material para que o mesmo seja mantido em bom estado.

L’étiquette « Art Déco » apparaît au milieu des années 1960 pour désigner des créations mobilières et architecturales de l’entre-deux-guerres. Les contours donnés au style évoluent cependant considérablement au fil des années, si bien qu’il est possible de distinguer trois grandes vagues de discours.La première, centrée autour de la France et de l’Exposition internationale des Arts décoratifs et industriels modernes de 1925, traite surtout du mobilier. Elle oppose souvent Art Déco et Modernisme et voit dans le premier le signe d’une société décadente, incapable de penser le monde de l’époque et de répondre à ses défis. L’Art Déco est condamné comme un prolongement anachronique du principe décoratif. Toutefois certains auteurs voient au contraire en lui « un dernier instant de bonheur ».La deuxième vague, essentiellement anglophone et américaine (alors que la première était plutôt italienne et française), repose sur une logique tout à fait différente. Apparaissant elle aussi dans les années 1960, elle accorde davantage de place à l’architecture. Elle fait de l’Art Déco une modernité alternative, un autre moderne, et rejoint les théories postmodernes qui se développent à partir des années 1970.La troisième, enfin, plus tardive, puisqu’elle commence dans les années 1980, se situe dans le prolongement de la deuxième. Elle se fonde sur les notions de malléabilité et d’hybridité et considère l’Art Déco comme une grammaire commune susceptible d’être adaptée dans des contextes très différents les uns des autres. Reposant sur un mouvement patrimonial puissant, elle s’observe aussi bien au sujet de Miami Beach que de Bombay/Mumbai ou Napier (Nouvelle-Zélande). Dans le monde francophone, cependant, cette approche de l’Art Déco reste relativement marginale et entre parfois en concurrence avec la notion d’architecture coloniale, même si des publications récentes portant sur Casablanca se situent indéniablement dans cette perspective. / The "Art Deco" label appeared in the middle of the nineteen sixties to designate furniture and architectures from the interwar period. The style's outlines evolved considerably over time, and it is thus possible to distinguish three different waves of description.The first one is centered around France and the 1925 Exposition internationale des Arts décoratifs et industriels modernes, and focuses mainly on furniture. It often presents Art Deco and Modernism as two opposites, and views the former as the sign of a decadent society, unable to understand the realities of the period and face its challenges. Art Deco is condemned by most authors as an anachronistic prolongation of the decorative principle, while some, on the contrary, see it as a last "moment of happiness".The second wave is essentially anglophone and American (whereas the first one was mostly French and Italian) It also appeared in the nineteen sixties, and gives preeminence to architecture rather than artefacts. Its foundation is completely different from the first wave since Art Deco is viewed as the "other modern" or an alternative modernity, a new definition very much influenced by the developing postmodern theories.Lastly, the third wave, which is more recent, appears to be a prolongation of the second one. It is a based on notions such as hybridity or malleability and views Art Deco as a grammar which can be easily adapted in very different contexts. Powered by a strong heritage movement, it concerns places such as Miami Beach, Bombay/Mumbai or Napier (New Zealand). In the French speaking world, however, this approach remains relatively rare, and concurrent notions such as that of colonial architecture are often preferred, even though recent publications about Casablanca constitute an exception.