In this study the public-school buildings of Denton are examined for evidences of modern architectural design. Chapter I serves as an introduction. Chapter II presents a history of the Denton Public Schools. Chapter III presents standards for evaluating modern school architecture. Features of existing school buildings, built earlier than 1964, which, in character, exemplify modern architectural design are described in Chapter IV. The three school buildings built since 1946 and the one under construction are described in detail and evaluated according to the standards given. Representative photostatic reproduction and photographs illustrate the text. In Chapter V a summary of the study is given and conclusions are presented.

[pt] A Casa com Três Pátios é um projeto residencial não construído do arquiteto Mies van der Rohe da década de 1930 e faz parte de um processo de investigação tipológica de casas-pátio, de duração de quase dez anos da atividade docente e profissional do arquiteto. O presente trabalho observa o desenho do muro de alvenaria da casa sob a compreensão de um protagonismoprogressivo deste elemento, desde seus primeiros estudos até sua última versão,associado ao conceito de autonomia disciplinar. A partir da comparação entre as obras da série investigativa e das executadas de Mies, é possível observar que omuro aos poucos deixa de mediar a arquitetura com o terreno e passa a disputar o protagonismo com o espaço interno da casa. / [en] The Three Courtyards House is an unbuilt residential project by architect Mies van der Rohe from the 1930s. The house is also part of a process of typological investigation of courtyard houses, lasting almost ten years of the architect s teaching and professional activity. The present work observes the design of the masonry wall of the house under the understanding of a progressive protagonism of this element, from its first studies to its last version, associated with the concept of architectural autonomy. Based on the comparison between the works of the investigative series and Mies s executed works, it is possible to notice that the masonry wall gradually ceases to mediate the architecture with the land and starts to dispute the protagonism with the house s internal space.

Winsor McCay drew delightful drawings about the dreams of a Welsh rarebit fiend, 'rare bits' inspired by an overindulgence in cheese. Dreams of the Rarebit Fiend was a Saturday cartoon that appeared in the New York Evening Telegram from 1904 to 1911, psychic twin to Little Nemo in Slumberland that appeared concurrently in the Sunday Funnies of the New York Herald from 1905-1911. 'Slumberland' was a Neo-classical fantasy that closely resembled the idealized White City of the Chicago World's Fair (1893), that inspired the architecture of Coney Island's Dreamland (1905-1911), which beckoned to McCay as he drew from his house just across Sheepshead Bay in Brooklyn. The capricious side of this Architecture emerged in McCay's cartoons. A self-taught illustrator, McCay began his career in Detroit working in dime museums, worlds of wonder—filled with monsters—dioramas and sideshow performers whose livelihood depended on their ability to amaze an audience. Just this sort of rare and gifted fellow, McCay parlayed his entertaining lampoonery of Slumberland into some of the world's first animations on vaudeville. As with the Rarebit Fiend, Little Nemo's dreams were brought on by overindulgence, in his case of too many donuts or Huckleberry Pie. But, this was merely a pretense for McCay's fantastical 'dream' mode of thinking, a potentially useful body of knowledge that was simultaneously explored by Sigmund Freud, Henri Bergson and Marcel Proust, who linked the mechanisms employed by the unconscious in dreaming to those at play in wit. Architectural drawing—seen through McCay's cartoons and early animations—has a kind of 'gastronomical' alchemy that inadvertently became a treatise on the architectural imagination. Fiend and Little Nemo affected the psychic mood of early modern Architecture—its 'childhood' in the milieu of White Cities—that was both added to and commented on by Winsor McCay's pen. His cartoons portray the hidden 'flavors' of the buildings springing up a century ago. This 'other'—surreal—aspect of the White Cities, seasoned with whirling iron Ferris wheels and Flip-Flop rides, newly invented elevators and electric lights—and even fun house mirrors that made buildings suddenly seem very tall—were the ingredients that caused the fiend and Nemo to wake up, which ultimately became the culinary school of modern Architecture. McCay's 'fiendish' depictions show us that the right blend of humor and awe is a recipe for happiness. / Doctor of Philosophy / Winsor McCay made cartoons of the 'nightmares' of a Rarebit Fiend with a witty, unflinching eye for detail. Those illustrations became a psychic twin to the architectural fantasies of a little boy in the 'funnies' section of the New York newspapers from 1905-1911. Dreams of the Rarebit Fiend and Little Nemo in Slumberland continue to entertain and edify us, while inadvertently acting as a guide to how the imagination works. McCay's celebrity as a cartoonist also led him to become one of the world's first animators, amazing vaudeville audiences with depictions of Little Nemo that were suddenly larger than life, illuminated, and mobile. Dreams were rediscovered in the early twentieth century as useful bodies of knowledge for understanding the self, seen through the writings of Sigmund Freud, Henri Bergson and Marcel Proust, who linked the mechanisms employed by the unconscious 'dreamer' to those at play in wit. That thinking was surrounded by the atmosphere in McCay's comedic sequential images, which in turn inspired the iconic dreamlike silent movies of Buster Keaton. A look at the birth of these art forms a hundred years ago provides insight into the psychic mood of early modern Architecture, but also to the imagining of today's world (both material and virtual) using the digital tools that are just being invented. Although McCay's cartoons are fiendish, they sustain the balance between dreaming and humor that is essential to imagining a happy modern life.

[pt] Elaborado dentro de um programa muito bem definido, o projeto na Arquitetura Moderna tem como uma de suas premissas não só edificar, mas também organizar móveis e objetos nos espaços, pretendendo ensinar como morar, ou seja, doutrinar os usuários sobre a forma correta de utilizar a máquina de morar. O Conjunto Residencial Marquês de São Vicente, prédio situado na Gávea, Zona Sul do Rio de Janeiro, foi pensado pelo arquiteto Affonso Eduardo Reidy dessa forma e construído com a certeza de que atenderia a esse programa, a certeza dos idealistas. Partindo de tal constatação, realizamos uma série de visitas aos apartamentos e entrevistas com os moradores deste prédio, com objetivo de proceder a uma análise morfológica das configurações espaciais feitas por eles a fim de construirmos o discurso do senso comum para, em seguida, relacioná-lo ao projeto original, o discurso da racionalidade. Ou seja, procuramos conhecer o outro lado da história, i. e., saber como os outros - nesse caso os moradores - construíram esse espaço no seu imaginário. / [en] Conceived within the scope of a very well defined intellectual movement, the project, in modern architecture, aimed not only to build, but also to organize furniture and objects in living spaces. They intended to teach how to live, to indoctrinate the users about the correct way of using the living machine. The Marquês de São Vicente condominium, located in Gávea borough, Rio de Janeiro, was developed in this way by the architect Affonso Eduardo Reidy and built with the conviction that it would accomplish that program, as the idealists conceived of it. Starting with this premise, we visited many apartments in the complex and interviewed the residents of one of the buildings so as to develop a morphologic analysis of the existing configuration thet had been done by them, tho know the common sense discourse, so that it could be related with the original project and, afterwards, with the discourse of reason. In other words, we tried to know the other side of history, i.e., to learn how the others - the residents - built that room in their own imaginary.

En partant de monographies parallèles qui analysent deux territoires emblématiques de logements sociaux à la périphérie de São Paulo et Paris, nous proposons dans cette thèse une compréhension simultanée de la situation de la Cité Balzac, un grand ensemble caractéristique des années 1960 qui a récemment passé par une intense et spectaculaire « rénovation urbaine » confronté à l’histoire d’un fragment du plus grand ensemble de grands ensembles de logements sociaux en Amérique latine, la Cidade Tiradentes, comme une stratégie visant à comprendre les cinquante dernières années de l’histoire du logement social dans les deux pays. Récents projets de rénovation urbaine, de nouveaux logements et d’équipement publics d’excellence dans les deux territoires confirment le caractère exceptionnel des études de cas, à partir de laquelle nous cherchons à établir des similitudes et contrastes, quelques questions communes et « regards croisés ». / In this thesis, we propose a simultaneous understanding of the history of two emblematic territories in the outskirts of São Paulo and Paris as a strategy to comprehend the last fifty years of the social housing history in both countries, through the analysis of the transformations of a typical grand ensemble build in the 1960 that has been recently through a deep renewal process, the Cité Balzac, confronted with the particular case of one fragment of the biggest housing projects complex in Latin America, the Cidade Tiradentes. Recent projects of urban renewal, new collective housing constructions and some special public equipments in both territories reinforce the exceptionality of the chosen cases, starting point for parallels, contrasts, common questions and crossed sights. / A partir de duas monografias paralelas que analisam territórios emblemáticos de habitação social na periferia de São Paulo e Paris, propomos nesta tese um entendimento simultâneo da situação da Cité Balzac, um grand ensemble característico dos anos 1960 que atravessou recentemente um profundo processo de ‘renovação urbana’, confrontada com a história de um fragmento do maior complexo de conjuntos habitacionais da América Latina, a Cidade Tiradentes, como estratégia para compreender os últimos cinquenta anos da história da habitação social em ambos os países. Projetos recentes de renovação urbana, de novos conjuntos habitacionais e equipamentos públicos de excelência em ambos os territórios confirmam a excepcionalidade dos casos estudados, a partir dos quais buscamos estabelecer similitudes, contrastes, questões comuns e ‘olhares cruzados’.

A tese propõe uma interpretação do Plano Educacional de Brasília por meio do cruzamento de leituras sobre três de seus aspectos. Apropriações das ideias em circulação sobre educação e cidade, o urbanismo de seu Plano Piloto e a tipologia de seu lugar escola em relação a práticas cotidianas de sua implementação são tópicos desde os quais uma miríade de personagens, propostas, conceitos e significações foi mobilizada para tratar das dimensões educativas do projeto de urbanidade concebido para a nova capital. A obra de Anísio Teixeira alinhava a interpretação proposta, funcionando como norte e recorte para o conjunto de circunstâncias entendidas como precedentes fundamentais da formulação deste projeto educativo. Sua trajetória, no entanto, é pensada como oportunidade especial de enfrentamento das relações, trocas e dissonâncias entre os campos da educação e da arquitetura e urbanismo, seja em âmbito nacional, seja internacionalmente considerados. Nos limites de uma leitura interdisciplinar entre arquitetura, urbanismo e educação, a tese formula uma narrativa sobre a produção do espaço escolar no contexto de modernidade que construiu Brasília. / The thesis proposes an interpretation of the Educational Plan of Brasilia through the crossing of readings on three of its aspects. Appropriations of circulating ideas about education and city, the urbanism of its Pilot Plan, and the typology of its school place in relation to the daily practices of its implementation are topics from which a myriad of characters, proposals, concepts and meanings have been mobilized to treat of the educational dimensions of the urbanity project designed for the new capital. The work of Anísio Teixeira aligned the proposed interpretation, functioning as a north and a cut for the set of circumstances understood as fundamental precedents of the formulation of this educational project. Its trajectory, however, is thought of as a special opportunity to confront relations, exchanges and dissonances between the fields of education and architecture and urbanism, both nationally and internationally. Within the limits of an interdisciplinary reading between architecture, urbanism and education, the thesis formulates a narrative about the production of the school space in the context of modernity that built Brasilia.

A presente pesquisa pretende contribuir para os estudos sobre a formação do campo paisagístico na cidade de São Paulo a partir da década de 1950, com enfoque nas expressões do paisagismo moderno. Para tanto, apresenta a trajetória do paisagista norte-americano Roberto Coelho Cardozo, desde a sua formação na UCBerkeley onde teve contato com o movimento de renovação paisagística que permeava o ambiente cultural e urbano da Costa Oeste dos Estados Unidos,passando pela atuação na docência na FAUUSP - quando inaugura a disciplina de paisagismo no curso de Arquitetura - até a sua produção técnica como paisagista, entre 1950 e 1970. Desde sua chegada a São Paulo até a partida à Inglaterra, na qual apreendeu e transformou os princípios da \"corrente californiana\", fez com que sua obra ganhasse uma modernidade específica, diferente dos outros paisagistas à época.O trabalho coloca a obra de Roberto Coelho Cardozo em perspectiva histórica esperando contribuir para o entendimento das questões relacionadas ao surgimento do campo profissional da Arquitetura Paisagística em São Paulo. / This research intends to contribute to the studies on the formation of the landscape architecture field in the city of São Paulo from the 1950sonwards, focusing on the expressions of modern landscaping. Therefore, we trace the trajectory of the American landscape designer Roberto Coelho Cardozo, since his graduation at UCBerkeley where he had his first contact with the landscape architecture renovation movement thatpermeated the cultural and urban environment of the West Coast of the United States; through his teaching at FAUUSP, introducing the Landscape Architecture discipline; up to his technical production as a landscaper between 1950 and 1970 - from his arrival in São Paulo until his departure to England, period in which he captured and transformed the principles of the Californian modernists, such as Garrett Eckbo and Thomas Church, making his work gain a specific modernity, distinct from other contemporary landscape designers. This analysis brings the work of Roberto Coelho Cardozo into a historical perspective, trying to contribute to the questions concerning the emergence of the Landscape Architecture field in São Paulo.

Esta pesquisa explora a atuação dos arquitetos no Rio de Janeiro entre os anos de 1925 e 1935, por meio do exame de alguns espaços profissionais que eles ocuparam, abriram e estabilizaram neste período de intensa modernização urbana e de reestruturação dos quadros político e cultural, nos âmbitos federal e municipal. Os assuntos apresentados foram divididos em três eixos temáticos, correspondentes aos capítulos. O primeiro aborda temas preponderantemente políticos: as disputas com engenheiros na definição de competências, a criação das primeiras associações de classe, a luta pela regulamentação profissional e por transformações no ensino, o interesse crescente pela questão da habitação econômica, as querelas no campo do urbanismo e as possibilidades de trabalho no funcionalismo público. A segunda parte trata da movimentação da seara cultural, na qual destacamos o entusiasmo da imprensa de arquitetura e o comparecimento da arquitetura na imprensa diária, a proximidade dos arquitetos com artistas e suas associações, a realização de exposições de arquitetura. O terceiro investe em tópicos econômicos: o debate sobre o arranha-céu, as imagens metropolitanas pensadas por esses profissionais e a realidade da verticalização de duas diferentes áreas da cidade, Centro e Copacabana; este último, o bairro eminentemente moderno, objeto de altos investimentos imobiliários nos quais os arquitetos estavam inseridos. / This research explores the performance of the architects of Rio de Janeiro between 1925 and 1935 through the examination of some of the professional niches they occupied, expanded, and consolidated during this period of intense urban modernization and restructuring of the political and cultural scenes, both at federal and local levels. The issues presented were divided into three thematic axes, which correspond to the chapters developed. The first one encompasses predominantly political themes: the disputes between architects and engineers in order to define each ones competences, the creation of the first professional organizations, the struggle for professional regulation and transformations in the teaching activity, the rising interest in the social housing agenda, the discussions held at the urban planning field, and the emerging work opportunities at the public sector. The second chapter is about the dynamics of the cultural scene, described by the enthusiasm of the architectural press, the presence of architecture in the daily media, the close relationship between architects, artists and their organizations, and the happening of architecture expositions. The third chapter focuses in economic topics: the skyscrapers debate, the metropolitan images thought by these professionals, and the vertical development of two different areas of the city, the Center and Copacabana, this last one being the most modern neighborhood of Rio de Janeiro, target of high real estate investments in which architects were involved.

A tese investiga as possíveis aproximações entre arquitetura e viagens de formação a partir das experiências de deslocamentos de dois arquitetos de São Paulo pelos Estados Unidos, entre 1943 e 1947. Formados respectivamente pelas escolas de engenharia do Mackenzie e da USP na década anterior, Henrique Mindlin (1911-1971) e João Vilanova Artigas (1915-85) empreenderam suas viagens aos EUA em anos decisivos de modelagem de sua atitude e liderança no campo profissional, de modernização do campo arquitetônico no Brasil, bem como de ampliação dos mecanismos de cooperação entre os dois países. Propõe-se entender estas viagens tanto em seus aspectos comuns, como um expediente caro à própria história da arquitetura, quanto nas particularidades de cada uma delas, dos arquitetos que as empreenderam, dos itinerários que desenvolveram e no momento mesmo em que o fizeram. / The thesis investigates the possible approximations between architecture and training trips based on the experiences of two US architects traveling from São Paulo between 1943 and 1947. They were graduated respectively from Mackenzie and USP engineering schools in the previous decade, Henrique Mindlin (1911-1971) and João Vilanova Artigas (1915-85) undertook their travels to the United States in decisive years modeling their attitude and leadership in the professional field of modernizing the architectural field in Brazil, as well as expanding cooperation mechanisms between The two countries. It is proposed to understand these journeys both in their common aspects, as a costly expedient for the history of architecture itself, as well as the particularities of each one of them, the architects who carried them out, the itineraries they developed and the moment they did so.

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.