[pt] Dentro da trajetória profissional de Ângelo Murgel foi selecionado recorte temporal caracterizado por sua afinidade com o Art Déco, aproximadamente entre os anos de 1932 e 1939. Foram selecionados para estudo três obras projetadas pelo arquiteto no referido período e modelo arquitetônico: Cine Theatro Brasil, Hospital São Lucas e Brasil Palace Hotel. Do exame do contexto cultural vivenciado por Murgel até sua formação, do estudo da conjuntura de anseio por modernidade existente em Belo Horizonte especialmente durante a década de 1930 e da análise dos três projetos selecionados, pretende-se relacionar nosso objeto de pesquisa, Ângelo Murgel, ao modelo de arquitetura Art Déco muito difundido na capital mineira entre as décadas de 1930 e 1940. Sendo projetos de um mesmo arquiteto, que se consolidou como o primeiro profissional a desenvolver um projeto no estilo em Belo horizonte, o estudo é feito de maneira a compreender a formação tanto de sua pratica projetual, contemplando a apropriação das formas tradicionais e modernas, como também do seu discurso, discutindo o aproveitamento das novas técnicas e tecnologias construtivas nas construções. / [en] Within the professional career of Angelo Murgel was selected time frame characterized by its affinity for Art Deco, approximately between the years 1932 and 1939 were selected to study three works designed by the architect in the period and architectural model: Cine Theatro Brazil, Hospital Luke and Brazil Palace Hotel. Examining the cultural context experienced by Murgel to their training, the study of existing modernity by longing situation in Belo Horizonte especially during the 1930s and the analysis of the three selected projects, would seek to link our research object, Angelo Murgel, the architecture model Art Deco widespread in Belo Horizonte between the 1930s and 1940. as projects of the same architect who has become the first professional to develop a project in style in Belo Horizonte, the study is done in order to understand the formation of both its practice architectural design, considering the appropriation of traditional and modern forms, but also of his speech, discussing the use of new techniques and construction technologies in construction.

This thesis aims to identify and explain how, through the consumption of the wireless as a modern consumer durable, modernism was brought to society. To understand this process, the study will map how social change during the period responded to wider intellectual and aesthetic currents and trends but was driven by emergent commercial, cultural and political economies of a newly mediated society. Furthermore, it seeks to establish that this happened not as a result of social engineering through model housing schemes but as a result of consumer-led demand. This investigation considers how, as part of that newly mediated social environment, the wireless developed following its arrival on the domestic market without having adopted a single stylistic form. It addresses how that form, both stylistically and technically, evolved over a relatively short period to address the economic and cultural requirements and expectations of a new electrically powered domestic entertainment technology. In so doing, a discourse will be established considering these expectations and requirements related to how the wireless in Britain adopted and adapted the Modernist design idiom. It will further consider how the language of Modernism was propagated as the accepted version of what a radio could or should look like, so developing the modernist paradigm in a broader sense. To gain an appreciation of this it is necessary to understand the contemporary public conception of what the modern was in a more general sense. To decipher this public perception of modernity the project aims to extrapolate that public conception through examining other popular forms and products. Although this suggests that Radio was not alone in adopting the language of the moderne, as a product it is notable for its widespread commercial success and as such can be identified as a significant carrier of the coded message of what was modern. Design historians such as Yagou and Forty have attempted to incorporate radio into various strands of historical perception but the typologies they have devised to describe and understand wireless fall short in addressing the relationship between modernity and the wireless and instead see the wireless in terms of being an independent consumer product, a quasi-scientific instrument or else a furnishing form, rather than creating categories which accommodate the wireless and its position as a design type in its own right. To overcome this shortcoming a strand of this thesis seeks to argue that the wireless was itself a proto-modernist device during the early years of market expansion. That device then developed along a natural stylistic course embracing contemporary decorative ideas. By assessing the response of radio manufacturers to the socio-economic conditions of their market, this study has highlighted how through producing a product which addressed contemporary ideas of glamour, ease of use and functionality, the wireless entered a wide range of homes during the 1920s and 1930s. For the public, the immediate appeal of the wireless was that it provided access to the international experience of listening in while simultaneously it provided a template for the consumer to base their understanding of the modern World, both in its mediated form and stylistic appearance. This thesis seeks to demonstrate that during the period 1925 to 1939, the wireless established itself as an unashamedly modern device which appealed to a broad socio economic cross section of the public. By consuming the wireless, the British public accepted a significant technological and stylistic aspect of modernity into their homes. This was achieved despite the privations of the era because of the perceived desirability of wireless broadcasts and the perception of listening in as a popular leisure activity. As a result of that consumer demand, the British public was given access to a range of stylistic versions of modernity through the design of radio cabinetry. These modern styles were readily consumed throughout the social spectrum in preference to historicist alternatives. This demonstrates that the wireless was instrumental in introducing the modernist aesthetic to the British domestic environment.

Centred on the architecture of the Winnipeg Civic Auditorium, this thesis tangentially investigates the presence of Anglo-Saxon race mindedness in a place civic planners call the metropolitan centre of North America (Watt, 1932). The introduction situates the building tangentially in Manitoba's history. By thinking about the Civic Auditorium in a tangential manner I aim to attack the linear and sequential framework found in Eurocentric historical accounts. Doing this, my thesis criticises western architectural history and welcomes Indigenous reinterpretations of civic planning and urban aesthetics. I aim to philosophically attack the informational rhetoric of the cultural turn (Fabian, 1983). My thesis participates in the production of a material turn discourse, wherein the important philosophical relationship between objects and occidental culture is demonstrated (Otter, 2010; Bennett & Joyce, 2010; Hamilton, 2013). It utilises the Civic Auditorium as a touch stone to demonstrate the important ways that architecture has agency in the production of racism. / February 2016

O trabalho analisa como a produção arquitetônica e a atuação política de quatro engenheiros contribuiu para o processo de modernização espacial da cidade de Campinas nas décadas de 1930 e 1940. O período estudado coincide com o momento de elaboração e implantação do Plano de Melhoramentos Urbanos, desenvolvido pelo urbanista Prestes Maia, sob encomenda do poder municipal. Entre o grupo restrito de atores envolvidos no projeto de modernização da cidade, destacou-se a participação dos engenheiros Eduardo Badaró, Hoche Néger Segurado, Lix da Cunha e Mário Penteado. O primeiro, funcionário da prefeitura, foi responsável pela implantação do plano, e os demais representavam os escritórios de engenharia mais operosos da cidade. Estuda a forma como a produção arquitetônica desses engenheiros foi realizada e investiga os fatores envolvidos no processo de sua constituição: referências artísticas e conceituais influenciadas pelos ecos tardios do embate teórico entre modernos e acadêmicos, travado nas primeiras décadas do século XX e que motivou engenheiros e arquitetos na busca por novos paradigmas inspirados nas vanguardas europeias; os meios materiais tendo no concreto armado um novo definidor do sistema construtivo; a herança das formações acadêmicas distintas; os jogos econômicos atrelados à industrialização da cidade; as estratégias políticas para a legitimação da implantação do plano de modernização urbana; as ações dos recém-fundados órgãos de classe no processo de afirmação da categoria profissional e, por fim, as demandas e aspirações de suas clientelas. Ao abordar as circunstâncias que envolveram a transformação do espaço urbano, tendo como corresponsáveis esses profissionais, a investigação dá ensejo a uma reflexão sobre ideias de modernidade que ultrapassam o campo das artes, que não obedecem a uma linha evolutiva homogênea e, sobretudo, que reconhecem a existência de várias categorias arquitetônicas, representantes das muitas correntes envolvidas em um processo de modernização mulltifacetado. / This paper analyses how the architectural production and political action of four engineers contributed to the spatial modernization process of the city of Campinas in the 1930s and 1940s. The studied period coincides with the time of the preparation and implementation of the Urban Improvement Plan, developed by the urban planner Prestes Maia and commissioned by the municipal power. Among the group of professionals involved in the modernization project of the city, the participation of the engineers Eduardo Badaró, Hoche Neger Segurado, Lix da Cunha and Mario Penteado stood out. The first engineer, who worked for the city hall, was responsible for implementing the plan, and the other engineers represented the most distinguished architecture offices in the city. It is of great interest to understand how the architectural production of these engineers was carried outand investigate the factors involved in its creation: conceptual and artistic references influenced by the late echoes of the clash between modern and academic in the early decades of the twentieth century that motivated engineers and architects in the search for new paradigms inspired by the European avant-gardes; the material resources having in the reinforced concrete a new determinant in the construction system; the inheritance of different academic backgrounds; the economic relations closely related to the industrialization of the city; the political strategies for the legitimation of the implementation of the urban modernization plan; the actions of the newly founded professional entities in the process of assertion of the professional category, and finally, the demands and aspirations of their clientele. By addressing the circumstances surrounding the transformation of the urban space, having these professionals as mutually responsible for all these changes, the investigation brings up a reflection on an idea of modernity that goes beyond the arts, does not follow a smooth evolutionary path and, above all, that recognizes the existence of various architectural categories, representing many streams of a multifaceted modernity.

O trabalho analisa como a produção arquitetônica e a atuação política de quatro engenheiros contribuiu para o processo de modernização espacial da cidade de Campinas nas décadas de 1930 e 1940. O período estudado coincide com o momento de elaboração e implantação do Plano de Melhoramentos Urbanos, desenvolvido pelo urbanista Prestes Maia, sob encomenda do poder municipal. Entre o grupo restrito de atores envolvidos no projeto de modernização da cidade, destacou-se a participação dos engenheiros Eduardo Badaró, Hoche Néger Segurado, Lix da Cunha e Mário Penteado. O primeiro, funcionário da prefeitura, foi responsável pela implantação do plano, e os demais representavam os escritórios de engenharia mais operosos da cidade. Estuda a forma como a produção arquitetônica desses engenheiros foi realizada e investiga os fatores envolvidos no processo de sua constituição: referências artísticas e conceituais influenciadas pelos ecos tardios do embate teórico entre modernos e acadêmicos, travado nas primeiras décadas do século XX e que motivou engenheiros e arquitetos na busca por novos paradigmas inspirados nas vanguardas europeias; os meios materiais tendo no concreto armado um novo definidor do sistema construtivo; a herança das formações acadêmicas distintas; os jogos econômicos atrelados à industrialização da cidade; as estratégias políticas para a legitimação da implantação do plano de modernização urbana; as ações dos recém-fundados órgãos de classe no processo de afirmação da categoria profissional e, por fim, as demandas e aspirações de suas clientelas. Ao abordar as circunstâncias que envolveram a transformação do espaço urbano, tendo como corresponsáveis esses profissionais, a investigação dá ensejo a uma reflexão sobre ideias de modernidade que ultrapassam o campo das artes, que não obedecem a uma linha evolutiva homogênea e, sobretudo, que reconhecem a existência de várias categorias arquitetônicas, representantes das muitas correntes envolvidas em um processo de modernização mulltifacetado. / This paper analyses how the architectural production and political action of four engineers contributed to the spatial modernization process of the city of Campinas in the 1930s and 1940s. The studied period coincides with the time of the preparation and implementation of the Urban Improvement Plan, developed by the urban planner Prestes Maia and commissioned by the municipal power. Among the group of professionals involved in the modernization project of the city, the participation of the engineers Eduardo Badaró, Hoche Neger Segurado, Lix da Cunha and Mario Penteado stood out. The first engineer, who worked for the city hall, was responsible for implementing the plan, and the other engineers represented the most distinguished architecture offices in the city. It is of great interest to understand how the architectural production of these engineers was carried outand investigate the factors involved in its creation: conceptual and artistic references influenced by the late echoes of the clash between modern and academic in the early decades of the twentieth century that motivated engineers and architects in the search for new paradigms inspired by the European avant-gardes; the material resources having in the reinforced concrete a new determinant in the construction system; the inheritance of different academic backgrounds; the economic relations closely related to the industrialization of the city; the political strategies for the legitimation of the implementation of the urban modernization plan; the actions of the newly founded professional entities in the process of assertion of the professional category, and finally, the demands and aspirations of their clientele. By addressing the circumstances surrounding the transformation of the urban space, having these professionals as mutually responsible for all these changes, the investigation brings up a reflection on an idea of modernity that goes beyond the arts, does not follow a smooth evolutionary path and, above all, that recognizes the existence of various architectural categories, representing many streams of a multifaceted modernity.

DISERTAČNÍ PRÁCE Univerzita Karlova v Praze Filozofická fakulta Ústav pro dějiny umění Studijní program Dějiny výtvarného umění Jan Mergl Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940 Art Development of the Production of the Harrach Glassworks in Nový Svět 1850-1940 Abstract Vedoucí práce: Doc. PhDr. Jana Kybalová, CSc. 2014 ABSTRACT Highly regarded throughout the world, Bohemian glass is also acknowledged as a cultural phenomenon in its own right and the Harrach glassworks in Nový Svět in Krkonoše indisputably ranks among the most accomplished companies that have had a determining influence on the world renown of Czech glassmaking. First documented in the early 18th century, the glassworks has been in existence for three hundred years. However, its prominent status among Bohemian producers of glass is not only due to its long history. What makes it noteworthy is its traditionally outstanding craftsmanship and technological facilities, and mainly its foresighted efforts to employ and further enhance diverse techniques in working with crystal and coloured glass. Thus, the factory was able to readily respond to the changes in the styles of glass as these developed from the 18th to the 20th centuries. This work is the outcome of long-term, focused research of archival sources, especially...