Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels. La version intégrale du mémoire a été déposée à la Division de la gestion des documents et des archives. / L’espace urbain et l’espace architectural font partie de notre quotidien. Nous vivons cette spatialité sans nécessairement la prendre en considération, elle appartient à nos habitudes de déplacement. Dès le milieu du 18e siècle, la ville et l’architecture seront témoins de nombreuses transformations novatrices. L’espace moderne développera un nouveau langage, qui nous est aujourd’hui familier. Cette analyse s’intéresse donc à la transformation subie par l’architecture et plus largement par la ville, et aux répercussions que l’arrivée de nouveaux matériaux ainsi que de nouvelles technologies aura sur le bâti. C’est dans cette optique que le mémoire s’intéresse au complexe architectural du Bauhaus de Dessau. Située au nord de l’Allemagne, la petite ville de Dessau aura été la plateforme de grands changements architecturaux. Également, nous nous intéressons aux interactions entre les différents acteurs occidentaux (philosophes, artistes et architectes) oeuvrant à la même époque afin de réfléchir ces influences sur le développement des recherches architecturales de Walter Gropius et plus précisément, celui de son ensemble de Dessau. / The urban space and architectural space are part of our everyday life. We live this spatiality without necessarily taking it into consideration, it belongs to our habits of movement. From the mid-18th century, the city and the architecture will witness many innovative transformations. The modern space will develop a new language that is now familiar to us. This analysis therefore focuses on the transformation undergone by the architecture, and more broadly, by the city, and on the impacts that the arrival of new materials and new technologies will have on the structure. It is in this perspective that the study takes an interest in the architectural complex of the Bauhaus Dessau. Located in northern Germany, the small town of Dessau has been the platform of major architectural changes. Also, we will focus on different interactions between the various western actors (philosophers, artists and architects) working in the same period, in order to consider the possible influences on the development of the architectural researches of Walter Gropius, and specifically, of his complex in Dessau.

[pt] O objetivo da Dissertação é o estudo da Arquitetura Moderna Alemã, das condições sociais, políticas e econômicas em que ela foi elaborada, de seus antecedentes teóricos e sua participação no Movimento Moderno. O período estudado neste trabalho abrange os trinta anos iniciais do século XX, até a chegada dos Nazistas ao poder na Alemanha, em 1933. A Alemanha passou, em um espaço de tempo de 60 anos, por guerras e mudanças políticas profundas que unificaram o país em 1870, transformaram-na em uma república democrática em 1918 e, com a chegada dos Nazistas ao poder em 1933, em uma ditadura. A Primeira Guerra Mundial afetou toda a Europa e, principalmente, a Alemanha derrotada, estabelecendo um marco divisor da produção arquitetônica. Além das questões políticas, trata-se de uma época marcada por profundas transformações da ciência e da tecnologia afetando as relações econômicas, as condições de trabalho, a indústria, a família, a vida humana individual e coletivamente, a cidade, os objetos da vida diária, desde os utensílios até a moradia. Os profissionais deste período tiveram de dar conta desse novo conjunto de condições que passou a determinar o mundo em que viveriam a partir de então. Esses anos foram definitivos para a arquitetura alemã e para a arquitetura moderna, não apenas pela incorporação de novas idéias, mas pelas atitudes práticas tomadas em relação aos problemas contemporâneos. / [en] This dissertation aims at studying the German Modern Architecture, the social, political and economical conditions in which it was developed, its theoretical background and its participations in the Modern Movement. The period of time studied in this paper is the first thirty years of the 20th century up to the moment when the Nazis got the power over Germany in 1933. For sixty years, Germany went through wars and other important political changes. The country was unified in 1870 and after the First World War it became a Democratic Republic in 1918. Then, in 1933, it became a Dictatorship with the Nazi government. The First World War affected all Europe and mainly the defeated Germany establishing a boundary in the architectonic production. Besides the political considerations, this moment shows meaningful changes in science and technology which influenced the economy, the industry, the work relations, the family, the human life - individual and collective, the city, the daily objects - both household objects and also the house itself. The professionals of this time had to deal with a set of conditions which would determine the world from then on. These years where expressive in Modern Architecture, not only for the new ideas, but also for the practical attitudes in relation to the contemporary problems.

Made available in DSpace on 2016-03-15T19:22:04Z (GMT). No. of bitstreams: 1 Rodrigo Marcondes Rocha1.pdf: 8501462 bytes, checksum: ed5ba05f6c5d0d1512b79237c9a8d232 (MD5) Previous issue date: 2013-02-22 / The theme of the present master s dissertation stems from the interest in the character and in the work of the German architect Walter Gropius (1883-1969) and it focuses on his coming to Brazil in January of 1954, when he participated in the Exposição Internacional de Arquitetura (event which was part of the II Bienal Internacional de Artes de São Paulo which coincided with the celebrations of the IV Centennial of the city s foundation), he got São Paulo s architecture award, in his first and unique edition he delivered an inaugural speech in the IV Congresso Brasileiro de Arquitetos and visited Rio de Janeiro and Petrópolis. In order to do so, archives of Fundação Bienal and publications and period periodicals were consulted, besides the relevant bibliography. Additional and fundamental information about the IV Congresso Brasileiro de Arquitetos were also recovered directly from the archives kept by the Paulista section of Instituto de Arquitetos do Brasil (IAB-SP). Hence, some valuable information were also recovered about the presence of Gropius in Brazil, aiming at complementing the barely spread content about this constant happening in the existing historiography, discussing frictions and proximities within the period in which Walter Gropius was in Brazil. / O tema desta dissertação de mestrado nasce do interesse pela obra e pela figura do arquiteto alemão Walter Gropius (1883-1969) e enfoca sua passagem pelo Brasil em janeiro de 1954, quando participou como destaque da Exposição Internacional de Arquitetura (evento integrante da II Bienal Internacional de Artes de São Paulo, que por sua vez coincidia com as comemorações do IV Centenário da fundação da cidade), recebeu o Prêmio São Paulo de Arquitetura, em sua primeira e única edição, proferiu a conferência inaugural do IV Congresso Brasileiro de Arquitetos, e ainda visitou o Rio de Janeiro e Petrópolis. Para tanto, consultamos os arquivos da Fundação Bienal e publicações e periódicos de época, além da bibliografia relevante. Informações adicionais e fundamentais sobre o IV Congresso Brasileiro de Arquitetos também foram recuperadas diretamente dos arquivos mantidos pela seção paulista do Instituto de Arquitetos do Brasil (IAB-SP). Assim foram recuperadas informações valiosas sobre a presença de Gropius no Brasil, com a finalidade de complementar o escasso conteúdo sobre este episódio constante da historiografia existente, discutindo atritos e aproximações gerados no período em que Walter Gropius esteve no Brasil.

Univ., Habil.-Schr.--Jena, 2002. / Literaturverz. S. 221 - 235.

[pt] O Movimento Moderno da arquitetura afirmou-se nas primeiras décadas do século XX como proposta de ruptura radical com o passado, desejando instaurar uma nova estética afinada com o espírito da era industrial. Sem desconsiderar as profundas transformações que a nova linguagem operou na arquitetura, este trabalho busca investigar os possíveis diálogos entre obras modernas e a tradição clássica, tendo em vista edifícios de arquitetos brasileiros. A discussão insere-se no debate recente da historiografia brasileira, que busca abordar a arquitetura moderna sob seus múltipos aspectos, valorizando as qualidades ambivalentes que tornam as obras mais complexas e interessantes, como já vem fazendo há mais tempo a crítica internacional, sobretudo com as interpretações que apontam para as relações de Le Corbusier com a tradição clássica. Dentre as obras destacadas na análise estão a sede do Ministério da Educação e Saúde do Rio de Janeiro (1936), de Lucio Costa e equipe, com consultoria de Le Corbusier; os palácios de Brasília de Oscar Niemeyer (Alvorada, Planalto e Supremo Tribunal Federal, 1957-58); e o edifício da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (1962-69), de Vilanova Artigas. A escolha de exemplos representativos e ao mesmo tempo variados da produção brasileira permite compreender as diversas formas com que a arquitetura moderna se relacionou com a tradição clássica, especialmente nos momentos em que desejou corporificar nos edifícios os ideais emblemáticos de seu tempo histórico. / [en] The Modern Movement in Architecture gained ground in the first decades of the 20th Century as a proposal of radical rupture with the past, willing to establish a new aesthetic in tune with the spirit of the industrial era. Not wanting to disregard the deep changes which the new language produced in architecture, this dissertation aims to investigate the possible dialogues between modern works and classical tradition, having in mind buildings of Brazilian architects. The discussion is inserted in the recent debate of Brazilian historiography, which intends to approach the modern architecture taking into account its multiple aspects, highlighting ambivalent qualities which make the works more complex and interesting, as the international critic has been showing for some time, especially with the interpretation that points to the relations between Le Corbusier and the classical tradition. Among the works distinguished in this analysis are the headquarters building of Ministério da Educação e Saúde do Rio de Janeiro (Education and Health Department of Rio de Janeiro, 1936), by Lucio Costa and his team, with consultancy of Le Corbusier; the palaces of Brasília by Oscar Niemeyer (Alvorada, Planalto and Supreme Federal Court, 1957-58) 1957-58) Court and the building of the FAU/USP (College of Architecture and Urbanism of São (College of Architecture and Urbanism of São Paulo University, 1962- 69), by Vilanova Artigas. The choice of representative and, at the same time, varied examples of the Brazilian production allows us to understand the different forms with which the Modern Architecture has established relations with the classical tradition, especially when it aimed to embody in the buildings the emblematic ideals of its historical time.

This thesis explores the architecture, interior design and furniture design of Greta Magnusson Grossman (1906-1999), a pioneering Swedish Modernist who emigrated to the United States in 1940 and became part of the design movement California Modern in Los Angeles. Despite a productive and acclaimed career, her work was more or less forgotten until rediscovered in the early 2000’s.In this thesis, Greta Magnusson Grossman’s broader context is understood through literature studies of the 1930 Stockholm Exhibition, the introduction of Swedish Modern at the 1939 New York World’s Fair, the postwar design movement California Modern, and the International Competition for Low-Cost Furniture Design organized by the Museum of Modern Art in New York in 1948. Similar needs for well designed, low cost housing and furniture in the two countries are found.To further examine the work of Magnusson Grossman, her 1949 residence at Waynecrest Drive in Los Angeles is visually analyzed and compared with contemporary Case Study House #8 by American design couple Charles and Ray Eames from 1949, and Swedish furniture designer and architect Bruno Mathsson’s Exhibition Hall from 1950. Several correlations between the three environments are identified, and confirms Greta Magnusson Grossman’s progressive contributions in the fields of architecture, interiors and furniture design.

Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories. / Graduate