Este trabalho pretende aclarar a participação de engenheiros e artífices alemães, na construção da cidade de São Paulo, entre 1820 e 1860. Para tanto, foram utilizados documentos referentes à imigração e obras públicas, como fontes principais da pesquisa. A imigração de povos germânicos para São Paulo teve três momentos importantes, até meados do século XIX. A primeira entrada de imigrantes alemães ocorreu em 1828 e foi subsidiada pelo governo imperial. Tinha por objetivo colonizar o interior, próximo à capital. A imigração de 1838, organizada por João Bloem e financiada pelo governo provincial, tinha o intuito de trazer artífices para construção de estradas e para trabalhar na siderúrgica de Ipanema, em Araçoiaba da Serra. Naquela ocasião, pretendeu-se montar uma companhia de operários, com esses profissionais. A terceira fase do processo imigratório de povos germânicos se deu na década de 1850, quando o governo provincial auxiliou financeiramente a Casa Vergueiro, para angariar agricultores, para as fazendas do interior do estado, e artífices, para montar a segunda companhia de operários da construção civil da província. Esses profissionais foram protagonistas da construção da cidade de São Paulo, na década de 1850, período em que se investiu consideravelmente em reformas urbanas na capital. Em termos quantitativos, é expressivo o número de alemães que atuaram na década de 1850 em São Paulo, no ramo da construção civil, trazendo melhoramentos urbanos importantes. O que de relevante foi feito nesse período, tanto no âmbito da infraestrutura urbana, como em arquitetura ou projeto, teve participação fundamental desse grupo de imigrantes. Podemos afirmar que engenheiros e artífices alemães atuaram em todos os setores da construção civil, em São Paulo, elaborando mapas da cidade, projetando edifícios públicos, propondo novas soluções para o abastecimento de água, construindo pontes, ou simplesmente trabalhando como artífices tecnicamente bem preparados. / This work intends to elucidate the participation of the German engineers and artificers in the edification of the city of São Paulo since 1820 to 1860. The main sources of the research were documents relating to immigration and public works. The immigration of the German people to São Paulo had three important moments, until the middle of the XIX century. The first German immigrants entrance happened in 1828 and was subsidized by the imperial government. It had the intent of colonizing the country - side close to the capital. The immigration of 1838, organized by João Bloem and supported by the provincial government had the purpose of bringing artificers for the construction of roads and to work in Ipanema siderurgy in Araçoiaba da Serra. At the time there was a plan of organizing a company of workers with these professionals. The third phase of the immigratory process of the German people happened in the decade of 1850, when the provincial government helped financially the Vergueiro House to recruit agricultural workers for the farms in the country - side of the state and artificers to organize the second company of civil architecture workers of the province. These professionals were the protagonists of the edification of the city of São Paulo in the decade of 1850, a time of great investments in urban reformation in the capital. In quantitative terms it is expressive the number of German workers who actuated in the decade of 1850 in São Paulo in the branch of civil architecture bringing important urban improvements. The participation of this group of immigrants in urban substructure, architecture and project in this period was considerable. We can asseverate that German engineers and artificers acted in all branches of civil architecture in São Paulo, elaborating maps of the city, projecting public buildings, presenting new solutions for the water provision, building bridges, or just working as artificers technically well prepared.

Desde finais do século XIX São Paulo vivenciou um intenso processo de mudanças, atreladas à transição da mão de obra escrava para a livre, o incentivo à imigração, a Proclamação da República, e a disponibilidade de capitais oriundos da riqueza gerada pelo café, o que permitiu sua expansão para outras áreas além do \"Triângulo\". Chácaras foram loteadas, novas ruas foram abertas, as ações governamentais que regulavam a cidade aprimoravam-se, e uma série de diferentes atores sociais entraram em cena, produzindo e vivenciando novos bairros. É a partir dessa perspectiva que o bairro do Brás surge. Procuramos estudar o bairro do Brás reconstituindo sua materialidade entre os anos de 1870 a 1915, com atenção ao seu processo de feitura, e principalmente aos seus agentes produtores, pondo luz especialmente nos setores médios que também envolveram-se na produção das cidades. Ao entrecruzarmos diferentes fontes, podemos imaginar os personagens e seus cenários de ação no passado, essencialmente a materialidade dos imóveis construídos, suas tipologias, seus programas edilícios, entrevendo alguns dos seus usos em seus respectivos endereços. Analisando a Série Obras Particulares do Arquivo Histórico de São Paulo, juntamente a cartografia, fotografias e outras fontes, podemos vislumbrar quem seriamos proprietários e construtores desses imóveis, bem como os agentes públicos que estiveram debruçados sobre cada pedido de construção solicitada à Prefeitura Municipal,ampliando a compreensão sobre o processo de urbanização do bairro atrelado às próprias mudanças que a cidade de São Paulo estava vivenciando. / At the close of the 19th century, São Paulo underwent intense changes as a result of the transition from slave labor to free, state-sponsored immigration, the overthrow of Brazil\'s empire and establishment of a republic, and increased capital availability due to the wealth generated by coffee production. These transformations allowed the city to urbanize beyond the historic \"Triangle\" that had been its center since the colonial era. Farms were divided into lots, new streets were laid out, government regulation was improved, and new social actors appeared on the scene. It was in this context that the neighborhood of Brás, so important to São Paulo\'s industrialization, was born. This study reconstructs the materiality of the construction of the neighborhood of Brás between 1870 and 1915. It focuses on the human agents who produced the neighborhood, especially the role of the middle classes, who were also involving themselves in the production of cities. By placing a variety of sources in dialogue with one another, it enables us to imagine us a series of characters and the stage they built as they played their roles on it - the materiality of the buildings, their typologies, and theirblueprints, envisioning, albeit imperfectly, some of the uses to which they were put. By analyzing the Obras Particulares series from the Historical Municipal Archive of São Paulo, along with cartography, photographs, and other sources, we can catch a glimpse of the buildings\' owners and constructors, along with civil servants as they leaned over each request for a building permit submitted to the city government. In so doing, this study enhances our understanding of Brás\'s urbanization, linking it to the broader processes of change that the city of São Paulo was experiencing.

Esta dissertação tem por tema o estudo do circuito social de uma pintura histórica voltada à representação urbana. Trata-se da tela Fundação de São Paulo, concluída pelo pintor brasileiro Oscar Pereira da Silva em 1907, e pertencente ao acervo do Museu Paulista da Universidade de São Paulo. Produzida em um momento em que o sucesso político e econômico das elites dirigentes paulistas era associado à construção de um passado heróico para a capitania de São Vicente e de São Paulo, esta pintura integra-se ao processo de produção de representações iconográficas que tinham por intenção oferecer uma narrativa visual sobre esse passado. Sua musealização permitiu um contínuo processo de apropriação social, que permitiu integrá-la ao imaginário paulistano e paulista. Percorrer o circuito desta pintura (composto por sua concepção/realização, exposição, fortuna crítica,aquisição, musealização e reprodução) é o objetivo deste trabalho, tendo em vista que a obra é um dos principais suportes da representação de momentos fundadores de espaços urbanos produzidos no Brasil republicano e peça fundamental no corpus de imagens que embasaram um imaginário nacional, paulista e paulistano. / The theme of this dissertation is the study of the social circuit of a historical painting with a urban representation motif. It discusses the painting Fundação de São Paulo, concluded by the Brazilian painter Oscar Pereira da Silva in 1907, and belonging to the collection of the University of São Paulo\'s Museu Paulista (São Paulo Museum). Produced in a moment in which the political and economic success of the São Paulo ruling upper classes was associated with the construction of a heroic past for the São Vicente and São Paulo captaincies, this painting integrates itself with the production process of iconographical representations that intended to offer a visual narrative for this past. Its museumization permitted a continuous social appropriation process, that allowed its integration with the São Paulo state\'s and city\'s imagery. To browse through this painting\'s content (composed by its conception/production, exposition, critic fortune, aquisition, museumization and reproduction) is this work\'s goal, since the picture is one of the main sustainment of the representation of founding moments in urban spaces produced in republican Brazil, and keystone to the images\' corpus that supported an imagery for the country, the state and the city.

Esta dissertação tem por tema o estudo do circuito social de uma pintura histórica voltada à representação urbana. Trata-se da tela Fundação de São Paulo, concluída pelo pintor brasileiro Oscar Pereira da Silva em 1907, e pertencente ao acervo do Museu Paulista da Universidade de São Paulo. Produzida em um momento em que o sucesso político e econômico das elites dirigentes paulistas era associado à construção de um passado heróico para a capitania de São Vicente e de São Paulo, esta pintura integra-se ao processo de produção de representações iconográficas que tinham por intenção oferecer uma narrativa visual sobre esse passado. Sua musealização permitiu um contínuo processo de apropriação social, que permitiu integrá-la ao imaginário paulistano e paulista. Percorrer o circuito desta pintura (composto por sua concepção/realização, exposição, fortuna crítica,aquisição, musealização e reprodução) é o objetivo deste trabalho, tendo em vista que a obra é um dos principais suportes da representação de momentos fundadores de espaços urbanos produzidos no Brasil republicano e peça fundamental no corpus de imagens que embasaram um imaginário nacional, paulista e paulistano. / The theme of this dissertation is the study of the social circuit of a historical painting with a urban representation motif. It discusses the painting Fundação de São Paulo, concluded by the Brazilian painter Oscar Pereira da Silva in 1907, and belonging to the collection of the University of São Paulo\'s Museu Paulista (São Paulo Museum). Produced in a moment in which the political and economic success of the São Paulo ruling upper classes was associated with the construction of a heroic past for the São Vicente and São Paulo captaincies, this painting integrates itself with the production process of iconographical representations that intended to offer a visual narrative for this past. Its museumization permitted a continuous social appropriation process, that allowed its integration with the São Paulo state\'s and city\'s imagery. To browse through this painting\'s content (composed by its conception/production, exposition, critic fortune, aquisition, museumization and reproduction) is this work\'s goal, since the picture is one of the main sustainment of the representation of founding moments in urban spaces produced in republican Brazil, and keystone to the images\' corpus that supported an imagery for the country, the state and the city.

The present work, developed under the theme - The vegetal element and the ambience of the Goiás Avenue, the analysis of its original historical part - is carried in a first moment with a criticaI analysis and a theoretical review of this subject. In a second moment the present study is carried with the collection and analysis of data about climatic and morphological aspects. pollution, and urban topology. These data were used to refine the performance of the vegetal element and the characteristics of the urban ambience in the original historical part of the Goiás Avenue. which is significant and represents an identity to the population of Goiânia. The choice of the theme is justified by the importance that the vegetation and the environmental matters have assumed in the process of development and administration of the cities. as well as the role which the city of Goiânia has played about this subject since its foundation as a planned city (1933) The theme emphasizes the arboreal questions and its influence in the urban ambience, which are presented as the essence of the research. The objectives of the work required a total understanding of the different historical periods of the city and for that some studies already completed regarding classification were used About the spatial range of the empiric object. (the Goiás Avenue) its original and most significant part was chosen as the object of this research. which is comprehended from the Civic Square until the Paranaíba Avenue. Some hypotheses were primarily raised, one of them is that the Goiás Avenue settles itself as a potential element of synthesis and representation of the collective memory of the city of Goiânia. requiring as that a meaning of identity to its population. Another hypothesis is that the initial reasons that leaded to the conception of the Avenue are being lost along the time with the transformations of the morphological components, generating the 1055 of its characteristics and a considerablelement of composition and of definition of the performance of ambience in the urban environment including the one analyzed by the present work. and therefore. making its perception and appropriation by the population ane 1055of its ambience- Yet it is presented the hypothesis that the vegetation was and it still being an important important aspect in the urban planning of the city. The hypothesis here presented, with a bigger or smaller degree of evidence. were confirmed after the analysis and interpretation of the data collected.

Esta tese analisa o processo de estabelecimento do Monumento à Independência como \"lugar de memória\" da emancipação política brasileira. Criada no contexto das comemorações do Centenário da Independência, a obra tornou-se elemento central dos festejos paulistas e revelou-se como um projeto de afirmação da cidade de São Paulo como centro simbólico do país, num embate evidente com a cidade do Rio de Janeiro na criação de uma história oficial brasileira. A trajetória dessa obra foi reconstituída, desde as primeiras intenções de edificação de um monumento no Ipiranga, ocorridas no período imperial brasileiro, até a inauguração do que ali se fez, em 1923. Analisou-se processo de escolha da obra, selecionada por meio de um concurso público internacional, examinando os debates em torno do edital, os projetos concorrentes e as críticas publicadas na imprensa em relação aos diferentes projetos. Constatou-se a importância de se ter selecionado o projeto de Ettore Ximenes, um artista italiano de grande reconhecimento profissional, como uma estratégia de consagração nacional e internacional do novo monumento paulista. Foram evidenciados os paralelos e sinergias entre os temas dos conjuntos escultóricos e relevos do Monumento à Independência com a exposição do Museu Paulista criada por Affonso Taunay para a comemoração de 1922, convergência favorecida pelo fato de que o historiador atuara simultaneamente como membro da comissão julgadora do concurso e diretor da instituição museológica. Além da obra escultórica e da exposição histórica, o projeto de consagração da colina do Ipiranga previa também o estabelecimento de um eixo urbano monumental, pontuado por esculturas e áreas ajardinadas, que ligaria o conjunto histórico ao centro da cidade. As intenções celebrativas da elite dirigente paulista, no entanto, foram impactadas pela incompletude do monumento e das obras a ele relacionadas em 1922 e pela diminuta repercussão que a inauguração do Monumento à Independência obteve na imprensa nacional e internacional. / This thesis analyses the process of establishing the Monument to the Independence of Brazil as a \"place of memory\" representing Brazilian political emancipation. Created within the context of the centennial celebrations of the 1822 Independence, this sculpture was central to São Paulo\'s festivities, and proved to be a representation of the city\'s project to assert itself as the symbolic center of the country, in an overt dispute with the city of Rio de Janeiro for the creation of an official history of Brazil. The history of this piece was retraced back to the earliest intentions of erecting a monument in the Ipiranga district - during the Imperial period - up to its dedication in 1923. The selection process of this sculpture, which was carried out publicly, is herein analyzed, while also examining the debates engendered by its official announcement, its contending projects, and the criticisms published in the press regarding the various projects. The election of a design by Ettore Ximenes - a widely renowned Italian artist - is deemed as a strategy to confer distinction and fame, in national and international levels, to this new monument in São Paulo. The themes found in this set of sculptures and reliefs are shown to be correlated and synergized with the Museu Paulista exhibition - set up by historian Affonso Taunay - for the 1922 celebrations. This convergence of compositions was favored by the fact that Taunay acted simultaneously as member of the public selection\'s judging committee and as director of the aforementioned museum. In addition to the sculpture and to the historical exhibition, the project of aggrandizing and promoting the Ipiranga hill also included creating a monumental urban axis, filled with sculptures and gardens which would connect this historical site to the city center. However, the celebratory intentions of the paulista elite were marred by the delayed construction of the monument and other works connected to it - unfinished in 1922 -, and by the limited repercussion engendered by the inauguration of the Monument to the Independence of Brazil in local and international media.

The present work, developed under the theme - The vegetal element and the ambience of the Goiás Avenue, the analysis of its original historical part - is carried in a first moment with a criticaI analysis and a theoretical review of this subject. In a second moment the present study is carried with the collection and analysis of data about climatic and morphological aspects. pollution, and urban topology. These data were used to refine the performance of the vegetal element and the characteristics of the urban ambience in the original historical part of the Goiás Avenue. which is significant and represents an identity to the population of Goiânia. The choice of the theme is justified by the importance that the vegetation and the environmental matters have assumed in the process of development and administration of the cities. as well as the role which the city of Goiânia has played about this subject since its foundation as a planned city (1933) The theme emphasizes the arboreal questions and its influence in the urban ambience, which are presented as the essence of the research. The objectives of the work required a total understanding of the different historical periods of the city and for that some studies already completed regarding classification were used About the spatial range of the empiric object. (the Goiás Avenue) its original and most significant part was chosen as the object of this research. which is comprehended from the Civic Square until the Paranaíba Avenue. Some hypotheses were primarily raised, one of them is that the Goiás Avenue settles itself as a potential element of synthesis and representation of the collective memory of the city of Goiânia. requiring as that a meaning of identity to its population. Another hypothesis is that the initial reasons that leaded to the conception of the Avenue are being lost along the time with the transformations of the morphological components, generating the 1055 of its characteristics and a considerablelement of composition and of definition of the performance of ambience in the urban environment including the one analyzed by the present work. and therefore. making its perception and appropriation by the population ane 1055of its ambience- Yet it is presented the hypothesis that the vegetation was and it still being an important important aspect in the urban planning of the city. The hypothesis here presented, with a bigger or smaller degree of evidence. were confirmed after the analysis and interpretation of the data collected.

Nos anos 20 do século XX, o Estado do Rio Grande do Sul passava por grandes obras. A construção e abertura de estradas, ferrovias e canais fluviais estavam aliadas ao plano de colonização das terras situadas ao norte do estado e ao aumento populacional que, conjuntamente, com as obras de saneamento fizeram com que o poder público estadual se confrontasse com uma nova realidade - a da organização urbana. Tudo isto estava dentro de uma conjuntura nacional e mundial em que se constituíram no imaginário social as ideias modernizantes e de vanguarda, que também se refletem nas grandes obras de infraestrutura da época. Dentro deste contexto, o Governo do Estado através da Secretaria das Obras Públicas (SOP), desenvolveu e fiscalizou projetos e obras municipais de saneamento e organização urbanas, projetos estes que abrangiam a captação e abastecimento de água, rede hidráulica, rede de esgotos e expansão da cidade, desencadeando uma campanha de higienização que passa a ser, na época, sinônimo de urbanização, além do projeto para a nova “cidade das águas” de Iraí. Este estudo trata do surgimento do urbanismo moderno gaúcho, no século XX. / During the twenties of the 20th century, the state of Rio Grande do Sul was undergoing great changes regarding its infrastructure. The construction and the opening of roads, railways and river canals were aligned to the plan for landing colonization in the north of the state and to the population increasement. Those two factors combined with sanitation workmanships made the local government face a brand new reality: that of urban organization. All of that was soaked in a world and country scenario that would influence the social imaginary with its modernizing and avant-garde ideas – reflected in the major infrastructure works of that time. Therefore, it was in this context that the public power, through the Department of Public Craftmanships (Secretaria de Obras Públicas, SOP), developed and audited projects and works on sanitation and urban organization. Projects enclosing water´s catchment and suply, hydraulic systens, sanitary sewers and the expansion of the city, wich resulted in a broad sanitation campaign – in that time a definition for urbanization – and in a project for the city of Iraí so-called “cidade das águas” (literally city of waters). This dissertation discusses the sprouting of the gaucho (i.e. a person from Rio grande do Sul) modern urbanism in the 20th century.

O processo de ocupação e anexação do território do Rio Grande do Sul, dentro do processo de urbanização do Brasil, iniciou, aproximadamente, duzentos anos após a chegada dos primeiros navegantes no Brasil. As questões oriundas da expansão e ocupação do território brasileiro já haviam avançado, com as decisões do tratado de Madri (1750), que determinaram um processo de urbanização tardio, com novas políticas urbanizadoras. Apesar das diferenças temporais e de contexto, muitas semelhanças permaneceram no que diz respeito às suas formas urbanas. O estudo dessa urbanização é um dos objetivos desse trabalho. Por outro lado, se escolheu analisar as cidades de Rio Grande, São José do Norte e Pelotas, que se encontram às margens das lagoas, no acesso ao complexo lagunar Patos e Mirim, no sul do Brasil, chamada nessa tese, “Portal Meridional do Brasil”. O objetivo foi avaliar no período entre 1737 e 1822, o crescimento dessas cidades, as regras urbanísticas que as regeram e suas categorias de análise como rua, quarteirão e lote, remanescentes até hoje. Esse estudo verificou a importância que o lote teve na formação da imagem que se tem da cidade colonial e de sua paisagem. Foi ele o responsável por aproximar tempos diversos e lugares diferentes, promovendo uma morfologia típica independente da edificação. / The process of occupation and anexation of the Rio Grande do Sul territory, within the Brazilian own urbanization process, initiated, aproximately, two hundred years after the arrival of the first settlers in Brazil. The issues originating from the expansion and occupation of the Brazilian territory had already advanced with the decisions of the Madrid's Treaty (1750), which determined a late urbanization process, with new urbanizing policies. Despite the temporal and contextual differences, many similarities remained regarding the urban shape. The study of this urbanization is one of the objectives of the present work. On the other hand, the cities of Rio Grande, São José do Norte and Pelotas were selected, which are located at the margins of the lagoons, in the access to the lake complex Patos and Mirim, in the South of Brazil, called in this thesis, “Brazilian Southern Gate”. The objective was to evaluate, in the period between 1737 and 1822, the growth of these cities, the urbanistic guidelines that ruled their categories of analysis such as street, block and lot, remaining until today. This study verified the importance that the lot had on the formation of the perceived image of the colonial city and its landscape. It was responsible for maintaining divergent times and different locations, promoting a typical morphology independing on the building.

Este trabalho tem origem em uma compilação de documentos, contidos em um tempo que remonta à última década do século XIX e vai até os anos 50. Dentro desse espaço de tempo, foram catalogados os instrumentos de controle urbanístico, formulados a partir do Poder Municipal e que agora nos servem de base para a elaboração deste trabalho. Pretendo aqui seguir a trajetória deste conjunto de leis, investigando suas origens e expressão de desejos no ambiente urbano. Enfim, investigando as conseqüências dessa legislação na vida da cidade. / This paper derives from a gathering of documents related to the urbanization process of Porto Alegre from the last decade of the XIX Century to the fifties. Such instruments, elaborated by the Municipality, ruled the city during that time and were used here as the data to support this paper. My purpose is to follow the trajectory of this system of rules, investigating its origins and its expression in the urban space. In other words, this paper aims at investigating the consequences of this legislation in the life of the city.