Investigando aspectos da configuração e dos usos dos espaços da Praça Pádua Salles, município de Amparo S.P. no passado e no presente, além dos significados a ela atribuídos no decorrer do tempo, o trabalho busca responder em que se baseiam suas identidade e memória. Pretende construir a memória da Praça a partir de um levantamento sobre a sua história que referencia a história da cidade. Analisa, também, construções e usos da Praça no cotidiano em que ela se apresenta como espaço de convívio, lazer e cívico. No decorrer do trabalho, a Praça é analisada em relação à cidade: à sua evolução urbana, à preservação do patrimônio histórico e cultural e às estratégias atuais de desenvolvimento urbano de Amparo. Por fim, o trabalho busca sintetizar o universo de informações levantadas, indagando a identidade da Praça e apontando diretrizes de projeto para a Praça Pádua Salles do amanhã. Faz referências às noções de permanências, coração da cidade e lugar. Também, da cidade que, por suas características culturais e conformação histórica tem, no presente, sua identidade vinculada ao passado, embora seja provida de informação atual expressa por intervenções urbanas que enxergam o futuro. Portanto, da cidade que se mantém em harmonia com o ontem e o hoje, com a cultura e o ambiente local. / Investigating aspects of the past and current configurations and uses of the spaces of Praça Pádua Salles (Amparo, S.P.) as well as the significance attributed to the site over time, this work attempts to identify the basis for the squares identity and memory. It intends to reconstruct Praça Pádua Salles´s memory with a survey about its history that uses the history of the city of Amparo as a reference point. The work analyzes the constructions and uses of the square in daily life, when it appears as a space for social, recreational, and civic gatherings. As the work progresses, the square is analyzed in relation to Amparos urban evolution, the preservation of the citys historical and cultural heritages, as well as the citys current urban development strategies. Finally, the work summarizes all the information gathered and ponders upon the squares identity, suggesting guidelines for a future Praça Pádua Salles project. The work makes references to the notions of permanency, heart of a city, and site. Also, it makes reference to a city that, because of its cultural characteristics and historical conformation, has its current identity linked to the past even though it is provided with current knowledge, as shown by urban interventions that have the future in mind. The city, therefore, remains in harmony with yesterday and today, as well as with the local culture and environment.

O objetivo desta pesquisa é reconstituir a formação do campo arquitetônico no Brasil, a história de São Paulo e de sua arquitetura, e investigar a inserção e a contribuição dos arquitetos estrangeiros para a construção da cidade entre os anos de 1930 e 1960 a partir da experiência do arquiteto francês Jacques Pilon (1905-1962). A intenção não é particularizar, valorizar ou reabilitar a sua produção isoladamente, focando a discussão na qualidade, na procedência ou não da autoria deste ou daquele projeto, nem traçar uma biografia intelectual ou desenvolver um trabalho monográfico, mas sim retomar a sua trajetória na relação com a cidade e com o campo arquitetônico. Para tanto, o presente trabalho investiga a sua formação como arquiteto em Paris, o início de sua carreira profissional no escritório dos arquitetos Robert Prentice e Anton Floderer, no Rio de Janeiro, a transferência para São Paulo, a sociedade com o engenheiro brasileiro Francisco Matarazzo Neto (1910-1980), firmada em 1934 com a criação da Pilon & Matarazzo Ltda (Pilmat) e, por fim, o seu escritório individual, cujas atividades se desenvolveram entre meados de 1940 e 1962. / Portrayed as a pragmatic man, more a manager than an architect, who owns a firm linked to the real estate market that built hundreds of buildings in São Paulo, Jacques Pilon (1905-1962) had not received a more detailed study of his work until now. If the extensive production is not equivalent to his reputation in the historiography of the Brazilian architecture, the massive presence of his buildings in the city, in particular in the downtown area, indicated that his contribution to the construction of São Paulo and to the affirmation of a certain image of modernity deserved more attention. This work traces the trajectory of Pilon and his role as an architect in São Paulo between 1930 and 1960. Without intending to draw an intellectual biography or to develop a monograph, the research retrieves the experience of this French architect in the tropics and from it investigates the contribution of foreign architects to build the city, tracing the formation of the architectural field in Brazil, the history of São Paulo and its architecture in this period.

Investigando aspectos da configuração e dos usos dos espaços da Praça Pádua Salles, município de Amparo S.P. no passado e no presente, além dos significados a ela atribuídos no decorrer do tempo, o trabalho busca responder em que se baseiam suas identidade e memória. Pretende construir a memória da Praça a partir de um levantamento sobre a sua história que referencia a história da cidade. Analisa, também, construções e usos da Praça no cotidiano em que ela se apresenta como espaço de convívio, lazer e cívico. No decorrer do trabalho, a Praça é analisada em relação à cidade: à sua evolução urbana, à preservação do patrimônio histórico e cultural e às estratégias atuais de desenvolvimento urbano de Amparo. Por fim, o trabalho busca sintetizar o universo de informações levantadas, indagando a identidade da Praça e apontando diretrizes de projeto para a Praça Pádua Salles do amanhã. Faz referências às noções de permanências, coração da cidade e lugar. Também, da cidade que, por suas características culturais e conformação histórica tem, no presente, sua identidade vinculada ao passado, embora seja provida de informação atual expressa por intervenções urbanas que enxergam o futuro. Portanto, da cidade que se mantém em harmonia com o ontem e o hoje, com a cultura e o ambiente local. / Investigating aspects of the past and current configurations and uses of the spaces of Praça Pádua Salles (Amparo, S.P.) as well as the significance attributed to the site over time, this work attempts to identify the basis for the squares identity and memory. It intends to reconstruct Praça Pádua Salles´s memory with a survey about its history that uses the history of the city of Amparo as a reference point. The work analyzes the constructions and uses of the square in daily life, when it appears as a space for social, recreational, and civic gatherings. As the work progresses, the square is analyzed in relation to Amparos urban evolution, the preservation of the citys historical and cultural heritages, as well as the citys current urban development strategies. Finally, the work summarizes all the information gathered and ponders upon the squares identity, suggesting guidelines for a future Praça Pádua Salles project. The work makes references to the notions of permanency, heart of a city, and site. Also, it makes reference to a city that, because of its cultural characteristics and historical conformation, has its current identity linked to the past even though it is provided with current knowledge, as shown by urban interventions that have the future in mind. The city, therefore, remains in harmony with yesterday and today, as well as with the local culture and environment.

O objetivo desta pesquisa é reconstituir a formação do campo arquitetônico no Brasil, a história de São Paulo e de sua arquitetura, e investigar a inserção e a contribuição dos arquitetos estrangeiros para a construção da cidade entre os anos de 1930 e 1960 a partir da experiência do arquiteto francês Jacques Pilon (1905-1962). A intenção não é particularizar, valorizar ou reabilitar a sua produção isoladamente, focando a discussão na qualidade, na procedência ou não da autoria deste ou daquele projeto, nem traçar uma biografia intelectual ou desenvolver um trabalho monográfico, mas sim retomar a sua trajetória na relação com a cidade e com o campo arquitetônico. Para tanto, o presente trabalho investiga a sua formação como arquiteto em Paris, o início de sua carreira profissional no escritório dos arquitetos Robert Prentice e Anton Floderer, no Rio de Janeiro, a transferência para São Paulo, a sociedade com o engenheiro brasileiro Francisco Matarazzo Neto (1910-1980), firmada em 1934 com a criação da Pilon & Matarazzo Ltda (Pilmat) e, por fim, o seu escritório individual, cujas atividades se desenvolveram entre meados de 1940 e 1962. / Portrayed as a pragmatic man, more a manager than an architect, who owns a firm linked to the real estate market that built hundreds of buildings in São Paulo, Jacques Pilon (1905-1962) had not received a more detailed study of his work until now. If the extensive production is not equivalent to his reputation in the historiography of the Brazilian architecture, the massive presence of his buildings in the city, in particular in the downtown area, indicated that his contribution to the construction of São Paulo and to the affirmation of a certain image of modernity deserved more attention. This work traces the trajectory of Pilon and his role as an architect in São Paulo between 1930 and 1960. Without intending to draw an intellectual biography or to develop a monograph, the research retrieves the experience of this French architect in the tropics and from it investigates the contribution of foreign architects to build the city, tracing the formation of the architectural field in Brazil, the history of São Paulo and its architecture in this period.

This thesis discusses the promises and pitfalls of city preservation in Ouro Preto, a Brazilian city preserved nationally and hailed as a UNESCO World Heritage site. Using interviews, archival material, ethnographic observations, and the analysis of public meetings on city preservation in Ouro Preto in 2013, I study how the city's legacy as a national treasure of monumental architecture has endured until now, despite different coexisting standards of living, perceptions and uses of the city, and views of the past. In Ouro Preto, while fluctuating populations of tourists and students live mainly in the historic city centre, permanent residents often build their homes in underprivileged and marginalised areas and benefit little from their cultural heritage. Spatial exclusion and preservation policies, allegedly favouring outsiders, boost the divide between residents and newcomers, echoing the colonial past of the city. Disputes around the preservation of the cityscape invited widespread participation. One expectation of increased grassroots participation in cultural heritage sites is that it could expose varied and fluid perspectives of the city, and consequently allow for corresponding, more inclusive uses. However, when looking at local participatory practices in heritage policies, I consider the challenge for grassroots meetings to include different citizens and viewpoints, when the ability to disagree in public debates and participation are restricted by socio-economic conditions. The ethnographic character of this research offers a platform to investigate anthropological questions regarding the role, limits and expectations around cultural heritage and participatory practices in a context of varied socio-economic levels and fluid perceptions of aesthetics, history, and everyday uses of public spaces in a fragmented city.

Begun in Berlin, completed in exile in Paris, and premiered on both sides of the Atlantic, Kurt Weill's Symphony No. 2 sets up the symphony circa 1933 as both resolutely international and messily interdisciplinary, and spotlights how fundamentally a transnational approach is needed in order more comprehensively to understand both the genre and the localised political and social issues shaping symphonic discourse at this time. Taking the issues raised by Weill's symphony as a starting point, and borrowing fine-grained, historically synchronic approaches from year studies, this thesis examines the symphonic genre in 1933 through four other case-study works composed or premiered in that year. I thus position the symphony as a site of cultural exchange between and within the major contexts traversed by Weill and his work: Berlin, Paris, and a messier U.S. East-Coast nexus that centres on New York and Boston, via Mexico City, looking in detail at Hans Pfitzner's Symphony in C-sharp minor, Roy Harris's Symphony 1933, Aaron Copland's Short Symphony, and Arthur Honegger's Mouvement Symphonique nr. 3. The Germanic genre has long been associated with nationalism, monumentality, and power display, wedded to Germanic Enlightenment philosophical discourses about universalised selfhood and its relationship to society. 1933, the year in which Hitler took power and the Great Depression reached its peak, was politically and economically fraught, concentrating social questions that intersect with symphonic issues about power, selfhood, space, and mass audiences. It is also a neglected year within symphonic surveys. The thesis combines archival work and hermeneutic perspectives to foreground those social and political discourses historically associated with the genre. I argue for the significance of their differing legacies in co-existent contexts, for the complicity of the genre in establishing and perpetuating political and colonial hegemonies, and for the urgency of rethinking the symphony as an international phenomenon.