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La présente thèse est un travail herméneutique sur Sports et Divertissements, édition de luxe qui combine musique et textes par Erik Satie et illustrations en pochoir par Charles Martin. Étant donné son caractère fortement intertextuel, Sports et Divertissements est abordé sous la problématique de l’art total et de ses prolongements dans les livres de peintres et d’artistes, ainsi que dans le contexte artistique de sa création (notamment la mode et son illustration et les livres art déco) pendant et un peu après la Première Guerre Mondiale.Conçu initialement par son éditeur Lucien Vogel, et paru dans une première version en 1914, Sports et Divertissements n’a pris sa forme finale qu’en 1923, dans une révision totale effectuée par Charles Martin. La thèse souhaite démontrer l’efficacité narrative maximale de cette deuxième version, en termes de correspondance entre les éléments littéraires, musicaux et visuels dans la temporalité de l’œuvre ainsi que dans son aspect plastique global à travers un processus ludique et dramaturgique de l’imagination. / The present thesis is an interpretative study of Sports et Divertissements, edition de luxe which combines music and texts by Erik Satie and pochoir illustrations by Charles Martin. Given the highly intertextual character of the work, Sports et Divertissements is seen under the notion of total art, extended to livres de peintres and livres d’artistes as well as in the artistic context of its creation (notably fashion and its illustration and art deco books) that occurred during and after the 1st World War.Initially conceived by its editor Lucien Vogel, and appearing on a first version in 1914, Sports et Divertissements didn’t take its final form until 1923, in a total revision of the illustrations by Charles Martin. The thesis attempts to show the maximal narrative efficacity of this final version, in terms of correspondence among literary, musical and visual elements in the temporality of the work, as well as in its global visual aspect, through a creative and dramaturgical process of the imagination.

nÃo hà / Esta tese consiste no empenho de construir sociologicamente uma anÃlise e interpretaÃÃo da arquitetura como expressÃo simbÃlica do Estado Nacional. Investiga a gÃnese e caracterÃsticas do estilo Art DÃco e seu uso como forma estÃtica adequada à modelagem da fisionomia da mÃquina estatal. O Art DÃco foi predominante em edifÃcios construÃdos para abrigar a administraÃÃo pÃblica, reorganizada e ampliada, entre os anos 1930 e 1945, no Brasil. A pesquisa propÃe, em especial, uma interpretaÃÃo sociolÃgica do imponente edifÃcio da EstaÃÃo FerroviÃria Central do Brasil, erguido na cidade do Rio de Janeiro, entre os anos de 1936 e 1943, concebido consoante aquele estilo. Esse marco arquitetÃnico à analisado como obra referencial do ideÃrio modernizante do Estado centralizador e autoritÃrio que entÃo emergia. / The purpose of this thesis is to sociologically construct an analysis and interpretation of architecture as a symbolic expression of the Nation State. The genesis and characteristics of the Art Deco style are investigated, as well as its use as an aesthetic form suited to modelling the physiognomy of the machine of state. Art Deco predominated in buildings constructed to house the public administration, which had been reorganised and extended between 1930 and 1945 in Brazil. In particular, this research proposes to formulate a sociological interpretation of the imposing edifice of the Central do Brasil Railway Station, constructed in the city of Rio de Janeiro between 1936 and 1943, which was designed in the Art Deco style. This architectural landmark is analyzed as a reference work of the modernizing thinking of the centralizing and authoritarian state that was emerging at the time.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-12-15T20:22:31Z No. of bitstreams: 5 Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (1).pdf: 10525561 bytes, checksum: 07a8e4382df564fbf83da2a21bf32527 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (2).pdf: 10283132 bytes, checksum: 86891a8fb2cc6787c47e68abef54a9b7 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (3).pdf: 9957787 bytes, checksum: 8f10cc9b353e9438eb3f56aa2c31f367 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (4).pdf: 263110 bytes, checksum: 54511210b516c244f2746115cef2570f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2014-12-15T20:22:58Z (GMT) No. of bitstreams: 5 Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (1).pdf: 10525561 bytes, checksum: 07a8e4382df564fbf83da2a21bf32527 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (2).pdf: 10283132 bytes, checksum: 86891a8fb2cc6787c47e68abef54a9b7 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (3).pdf: 9957787 bytes, checksum: 8f10cc9b353e9438eb3f56aa2c31f367 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (4).pdf: 263110 bytes, checksum: 54511210b516c244f2746115cef2570f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-12-15T20:23:01Z (GMT). No. of bitstreams: 5 Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (1).pdf: 10525561 bytes, checksum: 07a8e4382df564fbf83da2a21bf32527 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (2).pdf: 10283132 bytes, checksum: 86891a8fb2cc6787c47e68abef54a9b7 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (3).pdf: 9957787 bytes, checksum: 8f10cc9b353e9438eb3f56aa2c31f367 (MD5) Dissertação - Elianne Auxiliadora Moreira Borges Munduruca - 2013 (4).pdf: 263110 bytes, checksum: 54511210b516c244f2746115cef2570f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-08-22 / Facade rendering perform various functions in buildings and monuments including aesthetic features, durability and economic value. However, over the years, the works begin to suffer deterioration processes, either natural or caused by unsuccessful intervention actions that trigger the onset of problems in the building rendering works, impairing these functions. In the case of historical buildings and monuments, the situation is even worse, because of the lack of knowledge of materials and techniques employed in implementing them at the time of construction. Thus, this thesis aims to study the most suitable methods for the inspection of works on facades and monuments of historical value and, from this research, aims to adapt a simplified methodology for the assessment of pathological manifestations of renderings, especially in art deco construction style built in Goiânia. To achieve this goal, was designed a case study in the Clock Tower, an important art deco monument of the capital of the Brazilian state of Goiás, has been proposed the following methodology: visual inspection for research and mapping of pathological manifestations present at the monument; photographic documentation; essay by percussion, to assess the state of rendering adhesion; application of the infrared thermograph technique; and also testing by pendulum sclerometry to evaluate the surface hardness of the rendering. As a result, it was found that the monument is deteriorated with the presence of various defects in the rendering, especially with a high cracking and dirt stains, and rust stains and disintegration. The south and north views of the tower are those most committed while in the west and east views, especially in the latter, the rendering is still in good condition. / Os revestimentos de fachadas exercem diversas funções nos edifícios e monumentos, entre as quais, funções estéticas, de durabilidade e de valorização econômica. Entretanto, com o passar dos anos, as obras começam a sofrer processos de deterioração, ora naturais ora provocados por ações de intervenção mal sucedidas, que desencadeiam o aparecimento de diversos problemas no revestimento, comprometendo essas funções. No caso dos edifícios e monumentos históricos, a situação é ainda pior, pois se somam a esses fatores, a falta de conhecimento dos materiais e das técnicas empregadas na execução deles na época da construção. Dessa forma, esta dissertação tem como objetivo estudar os métodos mais adequados para a inspeção em fachadas de obras e monumentos de valor histórico e, a partir dessa investigação, adaptar uma metodologia simplificada destinada à avaliação das manifestações patológicas dos revestimentos, especialmente de obras do estilo art déco construídas em Goiânia. Para o alcance desse objetivo, foi idealizado um estudo de caso na Torre do Relógio, importante monumento art déco da capital goiana, tendo sido proposta a seguinte metodologia: inspeção visual, para investigação e mapeamento das manifestações patológicas presentes no monumento; documentação fotográfica; ensaio por percussão, para avaliar o estado de aderência do revestimento; aplicação da técnica da termografia infravermelha e, ainda, o ensaio de esclerometria de pêndulo, para avaliar a dureza superficial do revestimento. Como resultado, constatou-se que o monumento encontra-se deteriorado, com a presença de diversas anomalias no revestimento, principalmente, com elevado índice de fissuração e manchas de sujidade, além de manchas de oxidação e desagregação. As vistas Sul e a Norte são as que estão mais comprometidas enquanto que nas vistas Oeste e Leste, especialmente nesta última, o revestimento ainda continua em bom estado de conservação.

Cette recherche porte sur la vie et l’œuvre de Mahmûd Mukhtâr, gloire de l’art égyptien, dont le travail prit naissance à une époque où les débats autour de l’identité nationale constituaient un enjeu crucial pour la construction de la nation moderne. En Égypte, l’idée de mettre en place un art figuratif se développa parallèlement au déploiement du pharaonisme - un courant historiciste proche du nationalisme territorial, dans lequel l’idée centrale était que la géographie était le facteur déterminant de l’histoire de l’Égypte. Dans l’historiographie de l’art égyptien, l’on a d’abord considéré l’art figuratif arabe comme en « décalage chronologique ». Si cette idée s’étendit aussi fortement, c’est parce qu’au début du XXe siècle, la modernité trouve l’une de ses expressions les plus importantes dans l’art des « avant-gardes » européennes. Mais, en réalité, au lendemain de la Grande Guerre, il émerge un mouvement de réaction favorable au retour à l’ordre classique. On qualifia dès lors de « modernistes », les œuvres d’art qui se trouvaient à mi-chemin entre ces deux tendances : le retour à l’ordre et les « avant-gardes ». C’est précisément dans ce contexte que se situe l’œuvre de Mukhtâr. De ce fait, l’objectif principal de cette thèse sera de replacer la production artistique de Mukhtâr dans les débats de son temps et de la comparer avec celle de ses collèges européens, pour remettre en question l’idée selon laquelle, l’art égyptien de l’entre-deux-guerres aurait eu un certain « retard » sur l’art européen. / This thesis is about the life and works of Mahmûd Mukhtâr, glory of Egyptian art, at a time where the debates around national identity are crucial for the construction of the modern nation. In Egypt, the idea of creating figurative art was linked to the development of Pharaonism – a historicist trend close to territorial nationalism, in which the central idea was that geography was the determining factor in Egyptian history.Egyptian historiography, starts considering that Arab figurative art was in “delay” compared with that of Europe. The reason for the development of this idea was that at the beginning of the XXth Century, modernity found one of its most important expressions in European “avant-gardes”.But, in reality, after the Great War, a reactionary movement emerged. This trend favored the return to classical order, which was an art closer to Academism and figuration. We qualify as modernists, those works of art that are between these two tendencies: the return to classical order and the “avant-gardes”. It is precisely in this context where we can place Mukhtâr’s work. In this sense, the main objective of this dissertation is to compare Mukhtâr’s artistic production, with that of his European colleagues, in order to reconsider the idea of “delay” of Egyptian art created during the interwar period.

Cette étude porte sur l’architecture domestique à Nancy et dans les 19 communes de son agglomération de 1919 à 1939. L’ampleur du corpus (6 600 édifices) et du territoire étudiés permet de mettre en exergue les processus urbains et architecturaux qui concourent à la production de la ville. Les relations entre les municipalités, les lotisseurs, les organismes de logement social et les sociétés savantes sont scrutées pour retracer le chemin qui mène du projet à la réalité urbaine. La Reconstruction, les lois encadrant l’urbanisme ou les habitations à bon marché (loi Loucheur) et l’effet de la crise des années 1930 sur la promotion foncière et immobilière sont réinterrogés en profitant des outils techniques (SIG) et théoriques actuels. Les confrontations avec les modèles nationaux (voire internationaux) inscrivent l’étude dans une perspective plus large où l’agglomération nancéienne devient un support de réflexion sur ce moment de l’histoire des villes françaises. Par ailleurs, le recensement exhaustif permet de s’intéresser à l’ensemble de la production bâtie, sans hiérarchie. Cette étude du grand nombre, mêlant banal et exceptionnel, met en exergue les permanences et hybridations. L’héritage éclectique et Art nouveau côtoie la diffusion des nouveaux courants que sont le Mouvement moderne et l’Art déco. L’examen du cas nancéien contribue à la redéfinition de ce dernier style et à une meilleure connaissance de son évolution après 1930. Enfin, cette étude est l’occasion de montrer que l’architecture domestique s’apparente à une transcription matérielle de l’ordre social, qui transparaît dans la qualité des espaces intérieurs et des façades comme support de représentation / This study concerns the domestic architecture in Nancy and the 19 towns of its suburbs from 1919 to 1939. The important size of the corpus (6600 buildings) and of the area studied highlights the urban and architectural processes that contribute to the creation of the city. The relationships between the city council, developers, social housing organizations and intellectual societies are analyzed to trace the path that leads from the plan to the urban reality. The post-war reconstruction project, the law controlling urbanism or social housing (Loucheur Act) and the effects of the 1930’s crisis on the land and housing development are looked back on using modern technical (GIS) and conceptual tools. The comparisons with national (even international) models place the study in a broader perspective where Nancy and its suburbs become a medium for reflection on this moment in the history of French cities. In addition, the exhaustive inventory allows looking at all the building production without hierarchy. This study, combining the mundane and the outstanding, highlights permanencies and hybridisations. The legacy of Eclecticism and Art Nouveau coexists with the diffusion of new trends such as the Modern movement and Art Deco. The examination of Nancy’s case contributes to the new definition of the latter style and of a better understanding of its evolution during the 1930’s. Finally, this study is the opportunity to show that domestic architecture is a physical transcription of a social order, which is reflected in the quality of interior design and building facades as medium of representation

Trata-se de estudo investigativo de mão dupla acerca do art déco enquanto expressão primaz do moderno - não modernista - na Obra Getuliana, que assinalada pelos inúmeros edifícios públicos erigidos no período de 1930 a 1945, contribuiu para disseminá-lo no país. A princípio buscou-se explicitar em forma de panorama, uma parcela da vultosa produção arquitetônica oficial desse período, a cargo das seções de engenharia e arquitetura dos ministérios civis. Para tal, recorreu-se ao universo das exposições propagandísticas das realizações do governo estadonovista, ocorridas a partir de 1938 no antigo Distrito Federal, nas quais a Obra Getuliana esteve em evidência. A saber: Exposição do 30º aniversário do Ministério da Viação e Obras Públicas (1938); Exposição do Estado Novo (1938); Exposição do Ministério da Guerra (1941); e Exposição de Edifícios Públicos (1944). Como meio de se atestar o proposto, particularizou-se as produções do Ministério da Viação e Obras Públicas (MVOP) e Ministério da Educação e Saúde (MES), centradas respectivamente na arquitetura postal do Departamento de Correios e Telégrafos (DCT) e hospitalar relativa aos sanatórios para tuberculosos. Intentou-se também remontando o \"sistema de obras\" criado em 1939 para coordenar a referida produção oficial, e gerido pelo Departamento Administrativo do Serviço Público (DASP), entendê-la como alvo da política de racionalização dos serviços públicos pelo órgão máximo do executivo. Evidenciar as preocupações arquitetônicas oficiais relacionadas à estética e monumentalidade requeridas para os edifícios públicos nascidos dentro de um contexto político autoritário, mas progressista, foi outra forma de se averiguar a preponderância do art déco na Obra Getuliana. Nesse quesito, lançou-se mão da Revista do Serviço Público (1937-), veículo de comunicação entre Governo e funcionalismo, e de importantes registros da Obra e seu \"sistema\". / This is a two way investigative study about Art Deco whereas prime expression of the modern, but not modernist, in the Obra Getuliana, which was marked by numerous public buildings erected in the period from 1930 to 1945, thereby contributing to disseminate it in the country. At first we tried to explain it in shaped of panorama, a portion of the bulky official architectural production of this period, in charge of the sections of civil engineering and architecture departments. To this end, we adopted the universe of propagandistic exhibition of the achievements of the New State government occurred since 1938 in the former Federal District , in which the Obra Getuliana was in evidence . Namely : Exhibition of the 30th anniversary of the Ministry of Roads and Public Works (1938) ; Exposition of the New State (1938); Exhibition of the Ministry of War (1941) and Exhibition of Public Buildings (1944). As a means of proving the proposed, it was particularized the productions of the Ministry of Roads and Public Works (MVOP) and Ministry of Education and Health (MES), centered respectively on postal architecture of the Department of Posts and Telegraphs (DCT) and hospital on sanatoriums for tuberculosis. It was also attempted reassembling the \"system of works\" created in 1939 to coordinate such official production , and managed by the Administrative Department of Public Service (DASP),to understand it as a target for rationalization of public services policy by the highest body of the executive . Another way to determine the preponderance of art deco style in Obra Getuliana was to highlight the oficial architectural concerns related to aesthetics and monumentality required for those public buildings that were born within an authoritarian political context, but progressive. In this aspect, it made use of the Journal of Public Service (1937), vehicle of communication between government and civil service, and important records of the Obra and its \"system\".

Charles Masson (1894-1971) est un des principaux architectes de l’entre-deux-guerres à Nancy. Cette période de l’histoire de l’architecture à Nancy et en Lorraine est encore en cours d’étude. Adoptant la forme classique d’une monographie d’architecte, cette thèse y apporte sa contribution mais en tentant d’élargir l’étude par la connaissance des commanditaires. Elle s’attache d’abord à établir la biographie de cet architecte né en Moselle annexée et dont la formation en Allemagne lui donne un profil singulier. Le corpus des édifices bâtis par Masson au nombre de 57 a été défini, étudié et réuni dans un catalogue qui constitue le troisième volume de la thèse. Géographiquement, ils se trouvent principalement à Nancy et, pour presque la moitié d’entre eux, dans le fameux Parc de Saurupt, haut lieu de l’architecture Art nouveau et où Masson s’est fortement investi, mais du point de vue de leur statut, ils ne comptent que des villas ou des maisons et des immeubles, mais aucun bâtiment public. Masson présente la particularité rare de n’avoir travaillé à Nancy que pour l’architecture domestique. Les 41 commanditaires identifiés sont donc tous des particuliers, à l’origine et au profil social variés, appartenant généralement à la bourgeoisie fortunée. La synthèse se penche non seulement sur la vie et les constructions de Masson, mais tente aussi de saisir les relations entre l’architecte et ses clients, question qui jusqu’ici, pour ce qui concerne l’architecture de l’entre-deux-guerres, n’a pas été traitée sérieusement ni systématiquement. C’est un des intérêts de cette thèse de tenter d’aborder de front la question de la clientèle de l’architecte Masson. Pour cela, l’apport des archives s’avère essentiel mais, si la très grande majorité des plans dressés par Masson a été conservée, aucune correspondance n’a été retrouvée. On y a suppléé en étudiant finement le profil social de chaque commanditaire et en examinant les plans et l’architecture de chaque édifice pour en identifier les partis pris et deviner les souhaits des clients : leur rêve de villa ou leur désir de profiter des bonnes affaires dans l’immobilier. Cette étude révèle donc un architecte nancéien méconnu malgré l’importance de son œuvre et se veut une contribution à la connaissance de l’architecture domestique et de la clientèle des architectes de l’entre-deux-guerres / Charles Masson (1894-1971) was one of the leading architects of the interwar period in Nancy. People are still studying the effects of this historical and architectural period in Nancy and Lorraine. Adopting the classic form of an architectural monograph, this thesis both contributes to these studies and tries to broaden the study by mentioning the patrons. First of all, it focuses on the life of this architect, born in Moselle when Moselle was a part of Germany and whose German upbringing gives his work a unique character. Masson's oeuvre consists of 57 buildings, which have all been defined, studied, and collected together in a catalog, which constitutes the third volume of this thesis. Geographically, they are primarily located in Nancy and almost half of them are located in the famous Parc de Saurupt, the Mecca of Art Nouveau architecture and where Masson invested a lot of his time and effort, but when it comes to the types of buildings, he only designed villas, houses, and apartments. There are no public buildings in his work. Masson is unique in having only worked on residential architecture in Nancy. The 41 identified patrons are therefore all individuals, who all come from a variety of backgrounds and social classes, generally belonging to the wealthy bourgeoisie. This thesis not only looks at the life and work of Masson, but also attempts to understand the relationship between the architect and his clients, an issue which up to now, as far as the architecture of the interwar period is concerned, has not been treated seriously or systematically. It is one of the primary goals of this thesis to try to address the nature of Masson's clientele head-on. For this, the archives have proven essential, but no correspondence has yet been found despite the vast majority of the plans drawn up by Masson having been preserved. We supplemented this by carefully studying the social profile of each patron and by examining the plans and architecture of each building. We were able to identify their biases and estimate the client’s wishes, whether they dreamed of owning a luxury villa or were looking for a bargain property. This study has revealed an unknown architect from Nancy, who despite the importance of his work, has helped contribute to the knowledge of the domestic architecture and the clientele of the architects of the interwar period

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No. of bitstreams: 7 Dissertação-Daniella Medeiros Moreira Rocha - 2013 (1).pdf: 15801916 bytes, checksum: 0b05660a9e263c1da4204536b0e56871 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (2).pdf: 15676966 bytes, checksum: 14c5483474603d8a9d0511d3bceb46ac (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (3).pdf: 13776768 bytes, checksum: fd1891ee713ec6ee3bd869c8b555b31c (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (4).pdf: 15705470 bytes, checksum: f733031fb9deed4871424e7b1edd8bdc (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (5).pdf: 16753983 bytes, checksum: 5c3116b2bb7bde75782d6a9bea854266 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (6).pdf: 12309120 bytes, checksum: f2daa3bc673f5f55b04314d2d1d2cd4a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-07-21 / This research seeks to highlight the history of architecture in Goiania, and its protected architectural heritage (historical and artistic), under art deco style look, which was manifested in hotel edifications of Goiania, in 1930 and 1940, and lately, in 1950, representing, at the time, a symbol of modernity. More specifically, it is a study of the three pioneering hotels with this style: Palace Hotel, Grand Hotel and Hotel Don Bosco. The study delimitation consisted on investigating the objects in three periods: at construction; at some of their most significant moments; at present days. Methodological proposal was based upon bibliographical and documental surveys, oral interviews, photographic survey, original plants and descriptive memorials surveys, updated architectural and photographic surveys, for composition of records, as well as descriptions and analysis of art deco modernity, under the following criteria: party and architectural program, volumetry and facades, materials, techniques and indoors. In bibliographical research were used references pertinent to the history of art, history of art deco, history of Goiania and considerations on the question of heritage. As to documentary research, the public agencies related with were: Institute of Historical and Artistic Heritage (IPHAN), the Board of Historical and Artistic Heritage, the Board of the Image and Sound Museum (MIS), both of the Agency of Culture Pedro Ludovico Teixeira in Goiania (AGEPEL), the Heritage Division of the Municipal Secretary of Culture, the Municipal Secretary of Sustainable Urban Development (SEMDUS) and its historical archives. The testimonies were collected by oral interviews of personae who were part of the story of the people of Goiania. / Esta pesquisa procura evidenciar a história da arquitetura de Goiânia e do seu acervo arquitetônico tombado (histórico e artístico) pelo viés do estilo art déco, que se manifestou nas edificações hoteleiras goianienses nas décadas de 1930 e 1940 e, mais tardiamente, em 1950, representando, à época, um símbolo de modernidade. Mais especificamente, constitui um estudo dos três hotéis pioneiros nesse estilo: o Palace Hotel, o Grande Hotel e o Hotel Dom Bosco. A delimitação do estudo consistiu em investigar o objeto em três tempos: no momento inicial da sua construção; alguns de seus momentos mais significativos; e os seus dias atuais. A proposta metodológica foi a do levantamento bibliográfico e documental, entrevistas orais, levantamento fotográfico, levantamento de plantas originais e memoriais descritivos, levantamentos arquitetônicos e fotográficos atualizados, para composição de registros, descrições e análise da modernidade do art déco a partir dos seguintes critérios: partido e programa arquitetônico, volumetria e fachada, materiaise técnicas e interiores. Na pesquisa bibliográfica foram utilizadas referências pertinentes à história da arte, à história do art déco, história de Goiânia e considerações sobre a questão do patrimônio. Quanto à pesquisa documental, os órgãos públicos relacionados foram: Instituto do Patrimônio Histórico e Artístico (IPHAN), a Diretoria do Patrimônio Histórico e Artístico, a Diretoria do Museu da Imagem e Som (MIS), ambas da Agência Goiana de Cultura Pedro Ludovico Teixeira (AGEPEL), a Divisão de Patrimônio Histórico da Secretaria Municipal de Cultura, Secretaria Municipal de Desenvolvimento Urbano Sustentável (SEMDUS) e arquivos históricos. Os depoimentos foram coletados por entrevista oral de personagens que fizeram parte da história goianiense.