A ideia central da pesquisa foi o desejo de estudar as soluções projetuais adotadas pelos edifícios comerciais ícones da Arquitetura Modernista, produzidos entre 1930 e 1965 em São Paulo, avaliando o seu desempenho atual do ponto de vista ergonômico e de conforto ambiental. Foram realizadas pesquisas de campo em nove escritórios do Edifício Itália, em ambientes reais, para compreender como as tipologias e os partidos arquitetônicos adotados no projeto do edifício estão afetando o conforto e o desempenho ergonômico nas condições de uso atual desses escritórios. A abordagem ergonômica permitiu uma visão integrada, relacionando, de um lado, as estratégias bioclimáticas e técnicas passivas utilizadas no projeto original do edifício com, de outro lado, os requisitos das novas atividades que estão ocorrendo atualmente nesses espaços, dentro dos novos contextos criados pelo uso de equipamentos diferenciados e pelo emprego de distintos layouts. Como este edifício exibe uma arquitetura voltada para os aspectos bioclimáticos, diferente do modelo comercial convencional que é atualmente empregado na cidade, o estudo traz a oportunidade de reacender a discussão sobre a necessidade de criar uma nova cultura para a arquitetura comercial em São Paulo, melhor adaptada ao clima da cidade e mais sustentável. Trata-se de um ponto de partida para defender um novo padrão arquitetônico para edifícios comerciais, valorizando as técnicas passivas e o conceito de conforto adaptativo. / The central idea of this research was the desire to study the architectonic solutions used in modernist buildings, designed between 1930 and 1965 in São Paulo, assessing their current performance with regard to ergonomic aspects and ambiental comfort. Field research was conducted in the real environment of nine offices of Italia Building aiming to understand how the typologies and the architectonic features can affect the current conditions of use regarding comfort and ergonomic performance. The ergonomic approach provided an integrated perspective, linking, on the one hand, bioclimatic strategies and passive techniques used in the original building project to, on the other hand, the requirements of the new activities taking place at these spaces, taking account of the new contexts created by distinguished equipment and distinct layouts. As this building displays an architecture oriented to bioclimatic aspects, different from the conventional commercial building model, this study brings the opportunity to further discuss the creation of a new culture for commercial building architecture in São Paulo, one that is better adapted to the climate of the city e more sustainable. This is a starting point to uphold a new architectural pattern for commercial buildings, increasing the value of passive techniques and the concept of adaptive model.

Made available in DSpace on 2017-07-21T18:15:33Z (GMT). No. of bitstreams: 1 Gigliese Aparecida Mendes.pdf: 4723690 bytes, checksum: d639f235c11f238d999f62cf269496c4 (MD5) Previous issue date: 2013-05-22 / The modernist architecture is strongly presented in the urban scenery of Irati-PR. Such movement arrived to this town from 1950`s, what indicates a certain temporal delay, considering that this movement was booming in 1920`s in large urban centers. The base of this research is the dialectic relationship between local and global scales, in order to show the ways that a globalized movement wields local influence, mixing to individuals` life and establishing a ‘glocal’ culture. The focus of this research is the modernist ‘living space’ in which are analyzed twelve single-familiy residences built from 1950’s to 1970’s, that was projected by Eduardo Posfaldo, a local professional that strongly presented lecorbusioan influence. In these are observed modernist architectonic elements, such as pans de verre, platibands and pilotis. The “living machine”, that was largely discussed in the modernist movement, has its space linked to practicality, and the beauty of its frontages is allied to the functionality of the interior rooms. Based on the analysis of these habitations, it is possible to establish that they follow a pattern in the distribution of the intern spaces, privileging the private spaces followed by the social ones. Furthermore, it was found singularities in the modernist architecture of Irati-Pr, such as the use of wood in frontage details, and the presence of integrated “professional spaces” in some cases. / A arquitetura modernista mostra-se bastante presente na paisagem urbana de Irati – PR. Tal movimento chegou à cidade a partir da década de 1950, ou seja, com um certo atraso temporal, tendo em vista que estava em alta na década de 1920 nos grandes centros urbanos. O eixo condutor da pesquisa é a dialética existente entre as escalas global e local, na tentativa de mostrar de que maneira um movimento globalizado exerce influência local, mesclando-se à vida dos indivíduos e estabelecendo uma cultura ‘glocal’. O foco da pesquisa é o ‘espaço de morar’ modernista, onde analisa-se doze residências unifamiliares, construídas entre as décadas de 1950 a 1970, projetadas por Eduardo Posfaldo, profissional local que detinha forte influência corbusierana. Nestas são observados elementos arquitetônicos característicos do modernismo, como os pans de verre, platibandas e pilotis. A ‘máquina de morar’, tão debatida durante o movimento modernista, tem seu espaço ligado à praticidade, de forma que a beleza das fachadas se alia à funcionalidade dos cômodos internos. A partir da análise destas habitações, constata-se que estas seguem um padrão na distribuição dos espaços internos, privilegiando-se os espaços íntimos seguidos dos espaços sociais. Além disso, são encontradas singularidades na arquitetura modernista de Irati - PR, como a utilização da madeira em detalhes nas fachadas e a presença de 'espaço profissional' integrado, em alguns casos.

A ideia central da pesquisa foi o desejo de estudar as soluções projetuais adotadas pelos edifícios comerciais ícones da Arquitetura Modernista, produzidos entre 1930 e 1965 em São Paulo, avaliando o seu desempenho atual do ponto de vista ergonômico e de conforto ambiental. Foram realizadas pesquisas de campo em nove escritórios do Edifício Itália, em ambientes reais, para compreender como as tipologias e os partidos arquitetônicos adotados no projeto do edifício estão afetando o conforto e o desempenho ergonômico nas condições de uso atual desses escritórios. A abordagem ergonômica permitiu uma visão integrada, relacionando, de um lado, as estratégias bioclimáticas e técnicas passivas utilizadas no projeto original do edifício com, de outro lado, os requisitos das novas atividades que estão ocorrendo atualmente nesses espaços, dentro dos novos contextos criados pelo uso de equipamentos diferenciados e pelo emprego de distintos layouts. Como este edifício exibe uma arquitetura voltada para os aspectos bioclimáticos, diferente do modelo comercial convencional que é atualmente empregado na cidade, o estudo traz a oportunidade de reacender a discussão sobre a necessidade de criar uma nova cultura para a arquitetura comercial em São Paulo, melhor adaptada ao clima da cidade e mais sustentável. Trata-se de um ponto de partida para defender um novo padrão arquitetônico para edifícios comerciais, valorizando as técnicas passivas e o conceito de conforto adaptativo. / The central idea of this research was the desire to study the architectonic solutions used in modernist buildings, designed between 1930 and 1965 in São Paulo, assessing their current performance with regard to ergonomic aspects and ambiental comfort. Field research was conducted in the real environment of nine offices of Italia Building aiming to understand how the typologies and the architectonic features can affect the current conditions of use regarding comfort and ergonomic performance. The ergonomic approach provided an integrated perspective, linking, on the one hand, bioclimatic strategies and passive techniques used in the original building project to, on the other hand, the requirements of the new activities taking place at these spaces, taking account of the new contexts created by distinguished equipment and distinct layouts. As this building displays an architecture oriented to bioclimatic aspects, different from the conventional commercial building model, this study brings the opportunity to further discuss the creation of a new culture for commercial building architecture in São Paulo, one that is better adapted to the climate of the city e more sustainable. This is a starting point to uphold a new architectural pattern for commercial buildings, increasing the value of passive techniques and the concept of adaptive model.

Casablanca was long time perceived as laboratory for European architects to experiment with modernist mass housing. Yet, the spatial structure has since then been considerably transformed and appropriated by the inhabitants to respond to the requirements and aspirations of everyday life. The neighbourhood Hay Hassani has experienced substantial change since its construction in 1958-62, initiated by its residents. This paper aims to explore the inhabitants’ underlying reasons and means to adapt their dwellings, and further to provide perspectives into the logics behind these bottom-up, informal transformations. Applying phronetic planning research, an empirical case study has been carried out in Hay Hassani, which provides detailed narratives of the ways in which power and values are at work and with what consequences to whom. The findings indicate that multiple economic, socio-demographic, and cultural aspects are decisive dynamics that trigger the motivation or urge to adapt the original modernist architecture. While identifying the (f)actors of importance and drawing their power relations, the research reveals that because of reduced architectural, economic , institutional-political, and social barriers the inhabitants have been able to transform their built environment significantly. The present study highlights that questions of values, judgement, and power relations are central to understand and deal with the bottom-up transformation processes in the spatial development. / Migration as Inspiration (The Netherlands)

The study aims at the investigation and analysis of power relations connected to the sanatorium as a buildingtypology within the modernist architectural contest. The chosen building is the tuberculosis sanatorium ofPaimio, located in southwest Finland and built by architects Aino (1894-1949) and Alvar Aalto (1898-1976)between 1928 and 1933. The chosen theoretical framework is therefore based on the theories of Michel Foucault(1926-1984) about power, knowledge and discourse. The method used for this essay is inspired by the architecture theoretician Paul Hirst's notion of architecture as a discourse, its subjectification and a means of communication that changes over time, but also the semiotics of Umberto Eco and its conception of architecture as a double meaning tool.The study proceeds to analyze Paimio sanatorium taking into consideration the relationships between the various components of the building, their placement and formal elements as part of a bigger, institutional and medical discourse.The analysis of Paimio sanatorium has shown not only relevant historical and socio economic background butalso a mutual relationship between architecture and medical discourse capable of influencing each other overtime and space.

[ES] Esta tesis se centra en la investigación del modelo de arquitectura escolar exportado desde Alemania al extranjero, las llamadas Deutsche Auslandsschulen, concretamente las establecias en España y Portugal en el período comprendido entre 1925 y 1965, conocido como Movimiento Moderno. Partiendo del concepto de Neue Schule - nueva escuela - y respondiendo a las nuevas metodologías pedagógicas e higienistas, la Bundesbaudirektion - oficina federal de la construcción - crea un estándar arquitectónico para exportarlo al que se le incorpora una pieza fundamental: el Kindergarten o jardín de infancia, que permite una escolarización temprana de alumnos de nacionalidad alemana o extranjera. Los proyectos son redactados en Alemania y enviados a una oficina técnica instalada en la ciudad destino para dirigir desde allí la obra, formada por técnicos de ambas nacionalidades con el fin de llevar a cabo el proyecto de forma colaborativa. De todos los colegios se seleccionan para compararlos por sus características formales y funcionales las Deutsche Schule de Bilbao, Lisboa, Madrid, Porto y Valencia. Tras este contexto, se analiza el caso particular de la Deutsche Schule Valencia, proyectada en 1959 por los arquitectos alemanes Dieter Weisse y Peter Müller junto con los valencianos Pablo Navarro y Julio Trullenque. Este ejemplo es una muestra de la rigurosa tecnología constructiva alemana combinada con las adaptaciones locales aportadas por los arquitectos valencianos. La finalidad de esta investigación es documentar el patrimonio arquitectónico moderno de esta tipología, muy diferente al resto de colegios existentes, a través de la creación de un catálogo que pueda ser referente para dotar estos edificios de una protección adecuada y evitar su posible desaparición, así como ampliar la información existente en la base de datos del registro de la Fundación do.co,mo.mo Ibérico. / [CA] Esta tesi se centra en la investigació del model d'arquitectura escolar exportat des d'Alemanya a l'estranger, nomenat Deutsche Auslandsschulen, concretament les instal.lades a Espanya i Portugal en el període comprés entre 1925 i 1965, conegut com a Moviment Modern. Partint del concepte de Neue Schule - nova escola - i responent a les noves metodologies pedagògiques i higienistes, la Bundesbaudirektion - oficina federal de la construcció - crea un estàndard arquitectònic per tal d'exportar-lo al qual se li incorpora una peça fonamental: el Kindergarten o jardí d'infància, que permet una escolarització primerenca d'alumnes de nacionalitat alemanya o estrangera. Els projectes són redactats a Alemanya i enviats a una oficina tècnica instal·lada a la ciutat destí per a dirigir des d'allí l'obra, formada per tècnics de totes dues nacionalitats amb la finalitat de dur a terme el projecte de manera col·laborativa. De tots els col·legis es seleccionen per a comparar-los per les seues característiques formals i funcionals les Deutsche Schule de Bilbao, Lisboa, Madrid, Oporto i València. Després d'este context, s'analitza el cas particular de la Deutsche Schule València, projectada en 1959 pels arquitectes alemanys Dieter Weisse i Peter Müller juntament amb els valencians Pablo Navarro i Julio Trullenque. Este exemple és una mostra de la rigorosa tecnologia constructiva alemanya combinada amb les adaptacions locals aportades pels arquitectes valencians. La finalitat d'aquesta investigació és documentar el patrimoni arquitectònic modern d'aquesta tipologia, molt diferent de la resta de col·legis existents, a través de la creació d'un catàleg que puga ser referent per a dotar estos edificis d'una protecció adequada i evitar la seua possible desaparició, així com ampliar la informació existent en la base de dades del registre de la Fundació do.co,mo. mo Ibèric. / [EN] This thesis focuses on the investigation of the model of school architecture exported from Germany to foreign countries, the so- called Deutsche Auslandsschulen, specifically those established in Spain and Portugal in the period between 1925 and 1965, known as the Modern Movement. Based on the concept of the Neue Schule - new school - and responding to the new pedagogical and hygienic methodologies, the Bundesbaudirektion - federal building office - creates an architectural standard for export to which a fundamental piece is incorporated: the Kindergarten, which allows early schooling of pupils of German or foreign nationality. The projects are drawn up in Germany and sent to a technical office in the destination city to manage the work from there, made up of technicians of both nationalities in order to carry out the project in a collaborative manner. Of all the schools, the Deutsche Schule in Bilbao, Lisbon, Madrid, Porto and Valencia were selected for comparison due to their formal and functional characteristics. After this context, the particular case of the Deutsche Schule Valencia, designed in 1959 by the German architects Dieter Weisse and Peter Müller together with the Valencian architects Pablo Navarro and Julio Trullenque, is analysed. This example is an example of the rigorous German construction technology combined with the local adaptations provided by the Valencian architects. The purpose of this research is to document the modern architectural heritage of this typology, which is very different from the rest of the existing schools, through the creation of a catalogue that can serve as a reference to provide these buildings with adequate protection and prevent their possible disappearance, as well as to expand the existing information in the database of the do.co,mo.mo Ibérico Foundation's registry. / Benet Morera, I. (2024). Arquitectura moderna en las Deutsche Auslandsschulen de España y Portugal. La Deutsche Schule Valencia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/205827

My study challenges the status quo that seems to exist in the design of modern apartments, which is heavily influenced by the modernistic movement that flourished in early 20th century. Modernists strived to create a just and equal society, by challenging the social order and the traditional hierarchical system. The architecture of the time reflected these ideals and ultimately resulted in simplistic and repetitive designs that often formed box like interiors with standardised furniture. Consequently, these designs are detached from the individualism of the inhabitants, forcing people to sit, sleep, dine and socialise in a predefined space in a prescribed manner. My project is an artistic intervention to the BOX - the soulless interior of modern apartments. My aim is to explore and imagine alternative ways of existing within the box and push the boundaries of how we conduct daily activities in the living space.

A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework. / text

Du Bauhaus à De Stijl, du Constructivisme au Style international ou au Mouvement moderne, le modernisme historique n’aura pas seulement occupé les historiens de l’architecture et du design. Il est en effet devenu, depuis une vingtaine d’années, un objet d’investissement à part entière d'un grand nombre d'artistes de toutes provenances. Au tournant des années 2000, ce phénomène de références, d'évocations, de déplacements, de réappropriations, de mises à distance ou de célébrations, a pris une ampleur telle que de nombreuses expositions en Europe et en Amérique du Nord l'ont interrogé, en le réduisant toutefois le plus souvent à une mouvance ruiniste, empreinte de nostalgie, qui n'est pas confirmée par une étude attentive des œuvres. Loin de toute vaine prétention à l’exhaustivité, notre recherche a opté pour une focale centrée sur les œuvres. Au risque d’un peu de myopie où pourrait sembler se perdre une conscience globale du phénomène historique traité, le parti est ici pris d’analyser individuellement les pratiques. L’étude des divers cas retenus conduit à différentes hypothèses et lectures, qu'on espère inédites. Si tous les travaux analysés ont en commun de se référer au modernisme, de prendre celui-ci pour objet à travers telle ou telle de ses réalisations, on verra qu’il est impossible de conférer un sens unitaire à pareil tropisme. L'indispensable proximité avec les œuvres aura ainsi permis de prendre non pas l’unique mais les mesures plurielles d’un phénomène qui aura indéniablement marqué la création artistique des dernières décennies, et continue de la marquer. / From Bauhaus to De Stijl, from Constructivism to the International Style or the Modern Movement, historical modernism has kept more than architecture and design historians busy. In fact, in the last twenty years, it has become a focus of investment in its own right for a large number of artists from all walks of life. At the turn of the century, this phenomenon of references, evocations, displacements, reappropriations, distancing or celebrations took on such a magnitude that many exhibitions in Europe and North America addressed it. However, it was primarily reduced to a ruinist movement, full of nostalgia, which is not discerned by a careful study of the works. Without pretense of being exhaustive, our research has chosen to focus on the works. At the risk of being slightly myopic, where a global consciousness of the historical phenomenon treated might seem lost, we seek to analyze individual practices. The study of the various cases selected leads to different hypotheses and readings, which we hope are novel. If the common thread of all the analyzed works is to refer to modernism, to take it as object through one or other of its achievements, we will see that it is impossible to confer a unitary meaning on such tropism. The indispensable proximity to the works will thus make it possible to take not the exclusive but the plural measures of a phenomenon that will undoubtedly mark the artistic creation of the last decades, and continues to mark it.

No description available.