Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-12-16Bitstream added on 2014-06-13T19:48:47Z : No. of bitstreams: 1 rodrigues_ww_me_ia.pdf: 4116969 bytes, checksum: 5c2fb408175a773d2ce0dc6baa12372b (MD5) / O presente trabalho tem como tema a visão dos modernistas sobre o universo feminino, a partir de KLAXON – Mensário de Arte Moderna, primeiro periódico modernista. Foram utilizados conceitos do sociólogo francês Pierre Bourdieu (1930-2002), como referência teórica para estabelecer ligações entre o campo artístico e o campo social, no momento em que aconteceram os movimentos Modernista e Feminista emergentes. A investigação seguiu os rumos que a arte brasileira tomava para a inserção da mulher neste campo, como agente ativo, tendo em mente, principalmente, o papel desempenhado pela pintora Anita Malfatti enquanto “estopim do modernismo”. O período analisado compreende as mudanças ocorridas no final do século XIX (com a aceitação de matrícula de mulheres na Academia Nacional de Belas Artes), no Rio de Janeiro e se estende até o início da década de 30, quando o Modernismo se consolida como movimento com grande participação feminina. O recorte se dá com base nas artistas citadas em KLAXON: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889-1938), Sarah Bernhardt (1844- 1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900-1967). Inclui, também, o estudo de três textos sobre mulheres: Sarah, de Rubens de Moraes; As Cortesãs (das canções gregas), de Guilherme de Almeida; e A Extraordinária História da Mulher que se tornou Infinita, de Antonio Carlos Couto de Barros. Os resultados apontam uma visão mais aberta sobre o universo feminino, em relação ao século precedente, mas ainda com aspectos conservadores / This work aims to reveal the judgments of Brazilian male modern artists concerning to female universe, and adopts as a main stream of arguments “KLAXON” – a monthly magazine of Modern Art, and the very first newspaper of Modernist Movement, in Brazil. Therefore, concepts and theories of the French-sociologist Pierre Bourdieu (1930-2002) were equally applied in order to put in a well-connected association some events from artistic camp and those from social camp, just a time when both Modernist and Feminist movements were exactly taking place in Arts and in society. This investigation keeps on following the route that had to be traced on Brazilian art and that had to give to those women some insertion at a powerful artistic scale, an example to have in mind is that one taken from the presence of the Brazilian female painter Anita Malfatti, whose role was very important for the so called “boom of Modernist Movement”. The historical period analyzed includes the changes that occurred by the final of the XIX century, when women were being admitted on the “Academia Nacional de Belas Artes”, in Rio de Janeiro, and its goes up to the end of the 30’s, a period when Modernist Movement is consolidated as a real movement, accompanied from a large contribution of women. The most precious examples that can be illustrated with female artists’ presence, cited by KLAXON, are: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889- 1938), Sarah Bernhardt (1844-1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900- 1967). It also includes a study of three texts about women: Sarah, by Rubens de Moraes; As Cortesãs (“The Courtesans”, those from the Greek songs), by Guilherme de Almeida; and A Extraordinária História da Mulher que se tornou Infinita

Este estudo se dedica à compreensão dos caminhos distintos da coleção de artes plásticas, reunida e mantida por Mário de Andrade, ou seja, uma espécie de, vir-a-ser do conjunto, desde sua casa até a Universidade de São Paulo (USP). Ao ser expostas a diferentes, olhares, estudos e interpretação concretiza uma meta do escritor, sendo hoje preservada pelo Instituto de Estudos Brasileiros da Universidade de São Paulo (IEB-USP). No processo constitutivo desta coleção, contam-se diversas etapas, desde as primeiras aquisições do colecionador até sua incorporação pela Universidade. Ao longo deste trabalho, pode-se observar que o processo de formação da coleção se dá na relação entre o privado, os desígnios pessoais do colecionador, e o público, momento em que a coleção ganha significado enquanto tal e se destina ao olhar anônimo ou de estudiosos. Pode parecer erroneamente que se trata de uma divisão entre vida e morte de Mário Andrade, contudo esta relação já está presente desde os primeiros passos do colecionador. Para isso, esta dissertação está estruturada em três capítulos que funcionam como afunilamento do olhar, ante a coleção de Mário de Andrade. A primeira escala, mais ampla, dá conta das expectativas do colecionador, que possuía o desejo expresso de deixá-la para a posteridade, em instituições de cunho público, que veio ao encontro do objetivo institucional relativo ao Acervo do IEB. Já uma escala intermediária é o entendimento dessa coleção como detentora dos valores modernistas, levada ao olhar na Lopes Chaves; e, por fim, a escala mais detalhada, que reconstrói a exposição dessas no espaço da casa. / The purpose of this study is to further understand the developments of Mario de Andrade\'s art collection from the period when it was available at the collector\'s home to its transfer to the custody of the Institute of Brazilian Studies - University of São Paulo (IEB USP), thereby fulfilling Andrade\'s will to expose his legacy to different perspectives, studies and interpretations. The process that defined the collection may be divided into distinct phases, from early acquisitions to their incorporation into the University. This thesis emphasizes the relationship between the private sphere - or the collector\'s purposes and aspirations - and the public sphere - namely, the collection, understood as an independent unit and destined for public appreciation. It could be mistakenly taken for granted that this analysis is based on the assessment of the collection\'s development before and after Mario de Andrade\'s death, but public and private relations actually characterize the collection since it\'s beginning. The study is presented in three chapters, by narrowing down the subject matter in correspondent levels. The first one, conceived in a wider scale, takes into account the institutionalization of the collection. The second chapter, in turn, analyzes São Paulo\'s city by the owner of the collection. Finally, the third analyses the disposition of the objects in his house, through a reconstitution of the space

Orientador: José Leonardo do Nascimento / Banca: Rejane Coutinho / Banca: Loris Graldi Rampazzo / Resumo: O presente trabalho tem como tema a visão dos modernistas sobre o universo feminino, a partir de KLAXON - Mensário de Arte Moderna, primeiro periódico modernista. Foram utilizados conceitos do sociólogo francês Pierre Bourdieu (1930-2002), como referência teórica para estabelecer ligações entre o campo artístico e o campo social, no momento em que aconteceram os movimentos Modernista e Feminista emergentes. A investigação seguiu os rumos que a arte brasileira tomava para a inserção da mulher neste campo, como agente ativo, tendo em mente, principalmente, o papel desempenhado pela pintora Anita Malfatti enquanto "estopim do modernismo". O período analisado compreende as mudanças ocorridas no final do século XIX (com a aceitação de matrícula de mulheres na Academia Nacional de Belas Artes), no Rio de Janeiro e se estende até o início da década de 30, quando o Modernismo se consolida como movimento com grande participação feminina. O recorte se dá com base nas artistas citadas em KLAXON: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889-1938), Sarah Bernhardt (1844- 1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900-1967). Inclui, também, o estudo de três textos sobre mulheres: Sarah, de Rubens de Moraes; As Cortesãs (das canções gregas), de Guilherme de Almeida; e A Extraordinária História da Mulher que se tornou Infinita, de Antonio Carlos Couto de Barros. Os resultados apontam uma visão mais aberta sobre o universo feminino, em relação ao século precedente, mas ainda com aspectos conservadores / Abstract: This work aims to reveal the judgments of Brazilian male modern artists concerning to female universe, and adopts as a main stream of arguments "KLAXON" - a monthly magazine of Modern Art, and the very first newspaper of Modernist Movement, in Brazil. Therefore, concepts and theories of the French-sociologist Pierre Bourdieu (1930-2002) were equally applied in order to put in a well-connected association some events from artistic camp and those from social camp, just a time when both Modernist and Feminist movements were exactly taking place in Arts and in society. This investigation keeps on following the route that had to be traced on Brazilian art and that had to give to those women some insertion at a powerful artistic scale, an example to have in mind is that one taken from the presence of the Brazilian female painter Anita Malfatti, whose role was very important for the so called "boom of Modernist Movement". The historical period analyzed includes the changes that occurred by the final of the XIX century, when women were being admitted on the "Academia Nacional de Belas Artes", in Rio de Janeiro, and its goes up to the end of the 30's, a period when Modernist Movement is consolidated as a real movement, accompanied from a large contribution of women. The most precious examples that can be illustrated with female artists' presence, cited by KLAXON, are: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889- 1938), Sarah Bernhardt (1844-1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900- 1967). It also includes a study of three texts about women: Sarah, by Rubens de Moraes; As Cortesãs ("The Courtesans", those from the Greek songs), by Guilherme de Almeida; and A Extraordinária História da Mulher que se tornou Infinita / Mestre

Made available in DSpace on 2016-04-04T18:21:45Z (GMT). No. of bitstreams: 1 Pedro Soria Castellano-1.pdf: 373498 bytes, checksum: 1f2e23b3234c7d7a968bf04f3587a3f7 (MD5) Previous issue date: 2008-02-12 / This academic research aims to a study of the fundamental differences between modernism and post-modernism at the same time analyse how so distincts theories of city can behave in a certain urban fabric. To develop, this research used Berlin as a stage, and two International Exhibitions of Construction: the first one in the 50 s, called Interbau, and the second, with the city divided by the Wall, the end of the 80 s, called IBA. The research, which used methodologically bibliographic material and analysis of projects, take place in the history of urbanism, as well as interventions in urban centres, for the nature of the Exhibitions that are objects of study. As a result, it is expected a contribution to the architectural and urban thinking to bring forth the objects designed for the Exhibitions, so the two events studied are seen as examples of theories of the Modern Movement and the post-modernism in architecture and urbanism. / A presente pesquisa tem como objetivo uma reflex?o sobre as diferen?as fundamentais entre o modernismo e o p?s-modernismo ao mesmo tempo em que busca analisar de que forma teorias t?o distintas de cidade comportam-se em um determinado tecido urbano. Para desenvolver-se, o trabalho utilizou a cidade de Berlim como palco, bem como duas Exposi??es Internacionais de Constru??o que ocorreram na capital alem? em per?odos distintos da hist?ria: a primeira no p?s- Segunda Guerra durante a d?cada de 1950 denominada Interbau, e a segunda, j? com a cidade dividida pelo Muro, no final da d?cada de 80, chamada IBA. A pesquisa, que utilizou metodologicamente material bibliogr?fico e an?lise de projetos, situa-se no campo da hist?ria do urbanismo, bem como no de interven??es em centros urbanos, dada a natureza das Exposi??es que t?m por objetos de estudo. Como resultado, espera-se uma contribui??o ao pensamento arquitet?nico e urban?stico ao trazer a tona os objetos projetados durante as Exposi??es, de modo que os dois eventos estudados sejam vistos como exemplos das teorias do Movimento Moderno e do p?s-modernismo em arquitetura e urbanismo.

A pesquisa consiste no estudo dos projetos de habitação coletiva de Alison e Peter Smithson, compreendido entre os anos 1950 e 1972. São dois os projetos analisados, o projeto para Golden Lane, desenvolvido para um concurso, em 1951, e o conjunto Robin Hood Gardens, cuja construção foi finalizada no ano de 1972. Os procedimentos adotados para elaborar esta investigação foram o estudo da produção escrita dos arquitetos, bastante ampla e significativa para o entendimento global dos seus projetos, o redesenho das obras, incluindo a produção de desenhos e maquetes eletrônicas dos edifícios, o que possibilitou uma análise sistemática de cada um destes dois projetos, permitindo o entendimento da obra dos Smithsons e sua relação com o contexto do pós-guerra. / This research consists of the study of council housing projects made by Alison and Peter Smithson, from1950 to 1972. Two projects were analysed: the project for Golden Lane, developed for a competition in 1951,and Robin Hood Gardens, whose construction was finished in 1972.The procedures adopted to elaborate this investigation were: the study of the architects' written production, extensive and significant to the overall understanding of their projects and the re-design of the projects, including the building of computer-generated scale models of the buildings, which allowed a systematic analysis of each of these two projects, thus bringing a good perception of the Smithson's work and their relation to the post-war context.

Aquesta tesi doctoral tracta de forma específica els programes decoratius amb motius vegetals en tipologies arquitectòniques de caràcter públic destinades al lleure en la ciutat de Barcelona. Cronològicament, la investigació es situa en el període del modernisme, comprès entre finals del segle XIX i començaments del XX. La recerca estableix un marc comparatiu amb París, la capital cultural i artística europea per excel•lència en què Barcelona pretenia veure’s reflectida. Es tracta d’un estudi amb caràcter interdisciplinari que interrelaciona art ornamental i botànica. En el context de la Barcelona de la segona meitat del segle XIX es van anar desenvolupant determinades activitats relacionades amb les plantes i les flors: la Festa de l’arbre i les batalles de flors, a més d’altres festivitats efímeres. També un grup d’especialistes formaren la Societat Catalana d’Horticultura, tot emmirallant-se en el precedent francès de la Société Nationale d’Horticulture de France de París. Aquest tipus d’entitats desenvoluparen exposicions i concursos de plantes i flors, que més enllà de l’exhibició botànica, també van difondre l’art floral, tot incentivant la creació i l’exposició d’obres artístiques de temàtica vegetal. D’altra banda, l’ensenyament amb flors estava present des dels orígens a l’Escola de Llotja. Si en el segle XVIII les classes amb flors anaven enfocades a les composicions d’indianes, a partir de mitjans del segle XIX va evolucionar cap a la formació d’artistes ornamentals per al disseny de les arts aplicades i industrials, en què s’utilitzaven les flors naturals com a material docent. Entre els recursos de creació que disposaven els artífexs del modernisme per a la configuració dels programes decoratius, obtenen una rellevant importància els mètodes d’aplicació ornamental perquè ofereixen amplis repertoris d’il•lustracions de plantes i flors. Les arquitectures de l’oci en l’època del modernisme responen a sis tipologies arquitectòniques, com són els establiments per al menjar i el beure, les fondes i els hotels, els teatres, els espais de l’espectacle, els cinemes i els espais esportius. A partir d’aquests espais, s’ha configurant un mapa de l’oci de la Barcelona del 1900 en què s’estableixen tres nuclis: Ciutat Vella, Eixample i Paral•lel. Hi ha dos esdeveniments de l’arquitectura de l’oci que es presenten com a freqüents al llarg del modernisme, com són les noves construccions i paral•lelament les reformes d’espais predecessors. L’ornamentació de les arquitectures era signe de distinció i un reclam del bon gust per a captar a la clientela. Per aquest motiu, els propietaris competien per aconseguir els millors conjunts artístics del moment, contractant a arquitectes-decoradors, projectistes i artesans col•laboradors destacats de la fi-de-segle. Els programes decoratius amb ornamentació vegetal de les arquitectures de l’oci responen a dues clares tendències, per una banda el historicisme i l’eclecticisme i per l’altra el naturalisme-simbolisme versus Art Nouveau. La segona és la que obté una major rellevància. Els programes decoratius es confeccionen en funció de la confluència dels motius vegetals, aquests es poden fer més extensius quan la flora esdevé l’eix vertebrador o concentrats a partir de la distribució unitària i el detallisme. Quan la flora és l’ornament central pot arribar a la seva concepció de màxima esplendor, tot adoptant la forma estructural amb la simbiosi organicista a partir de simulacions d’arbres o la metamorfosi de les plomes de paó en tiges de fulles i flors. És en aquest punt quan l’ornamentació vol esdevenir natura en un sentit orgànic arquitectònic i escultòric quan es produeix una unitat com a resultat de la síntesis que proporcionava el significat simbòlic. Així mateix, hem identificat un conjunt de plantes i flors que formen part del mateix fenomen, representatiu i simbòlic. / This doctoral thesis deals specifically with the decorative programs containing vegetal motifs used in architectural typologies of public nature destined to leisure time in the city of Barcelona. The research is set chronologically in the period of Catalan modernism, which spans from the end of the 19th century to the beginning of the 20th. It lays down a comparative framework with Paris, the European cultural and artistic capital par excellence, in which Barcelona intended to be reflected. It is a research with an interdisciplinary character that interrelates ornamental art with botany. Within the context of Barcelona in the second half of the 19th century, activities related to plants were developed: the Tree Festival, flower battles and other ephemeral festivities. Looking at the French precedent of la Société Nationale d’Horticulture de France in Paris, a group of specialists founded la Societat Catalana d’Horticultura. On the other hand, from the mid-nineteenth century on, natural flowers were used in l’Escola de Llotja (Llotja School) as teaching material. The methods of ornamental application were another resource that the modernism architects had in order to configure the decorative programs. Leisure time architectures in the modernism time respond to six architectural typologies: establishments to eat and drink, boarding houses and hotels, theatres, entertainment spaces, cinemas and sport spaces. Taking these spaces as a starting point, a map from the leisure time of Barcelona in 1900 has been configured. It establishes three centres: Ciutat Vella, Eixample and Paral•lel. The decorative programs containing vegetal ornamentation used in the leisure time architectures reflect two tendencies: historicism-eclecticism and naturalism- symbolism versus Art Nouveau. When flora becomes the central ornament it can reach its conception of maximum magnificence taking the structural form by means of tree simulations or by the metamorphosis of peacock’s feathers into leaves and flowers’ stems. It is at this point when the ornamentation wants to become nature in an organic, architectural and sculptural sense, causing an ensemble as a result of the synthesis provided by the symbolic meaning. We have also identified a collection of plants from the ornamental programs.

A pesquisa consiste no estudo dos projetos de habitação coletiva de Alison e Peter Smithson, compreendido entre os anos 1950 e 1972. São dois os projetos analisados, o projeto para Golden Lane, desenvolvido para um concurso, em 1951, e o conjunto Robin Hood Gardens, cuja construção foi finalizada no ano de 1972. Os procedimentos adotados para elaborar esta investigação foram o estudo da produção escrita dos arquitetos, bastante ampla e significativa para o entendimento global dos seus projetos, o redesenho das obras, incluindo a produção de desenhos e maquetes eletrônicas dos edifícios, o que possibilitou uma análise sistemática de cada um destes dois projetos, permitindo o entendimento da obra dos Smithsons e sua relação com o contexto do pós-guerra. / This research consists of the study of council housing projects made by Alison and Peter Smithson, from1950 to 1972. Two projects were analysed: the project for Golden Lane, developed for a competition in 1951,and Robin Hood Gardens, whose construction was finished in 1972.The procedures adopted to elaborate this investigation were: the study of the architects' written production, extensive and significant to the overall understanding of their projects and the re-design of the projects, including the building of computer-generated scale models of the buildings, which allowed a systematic analysis of each of these two projects, thus bringing a good perception of the Smithson's work and their relation to the post-war context.

A pesquisa consiste no estudo dos projetos de habitação coletiva de Alison e Peter Smithson, compreendido entre os anos 1950 e 1972. São dois os projetos analisados, o projeto para Golden Lane, desenvolvido para um concurso, em 1951, e o conjunto Robin Hood Gardens, cuja construção foi finalizada no ano de 1972. Os procedimentos adotados para elaborar esta investigação foram o estudo da produção escrita dos arquitetos, bastante ampla e significativa para o entendimento global dos seus projetos, o redesenho das obras, incluindo a produção de desenhos e maquetes eletrônicas dos edifícios, o que possibilitou uma análise sistemática de cada um destes dois projetos, permitindo o entendimento da obra dos Smithsons e sua relação com o contexto do pós-guerra. / This research consists of the study of council housing projects made by Alison and Peter Smithson, from1950 to 1972. Two projects were analysed: the project for Golden Lane, developed for a competition in 1951,and Robin Hood Gardens, whose construction was finished in 1972.The procedures adopted to elaborate this investigation were: the study of the architects' written production, extensive and significant to the overall understanding of their projects and the re-design of the projects, including the building of computer-generated scale models of the buildings, which allowed a systematic analysis of each of these two projects, thus bringing a good perception of the Smithson's work and their relation to the post-war context.

Made available in DSpace on 2014-12-17T13:56:57Z (GMT). No. of bitstreams: 1 AlexandraCSM_anexos.pdf: 3997062 bytes, checksum: 20da1839559f6c2e3c48576374dc3ddd (MD5) Previous issue date: 2004-03-04 / Brazilian architecture was recognized because of the consecration of the icons of the Carioca and Paulista schools which are represented nationally and internationally by names like Niemeyer, Lucio Costa and Vilanova Artigas, among others. Because of this, classic studies dedicated to the Brazilian case look to present the Southeastern region with the title of father of modern Brazil, at the cost of subjugating various other modern movements and peripheral sayings, whether their values are known or forgotten. On the other hand, there has been an effort, in the sense of registering and analyzing these regional productions of modern Brazilian architecture, an assignment that DOCOMOMO Brasil participates firmly through initiatives like the creation of a Library to aid in the documentation and registration of modernity in Brazil. Inside this context of insertions of the National-Modern scheme, this work has as its objective to present modern potiguar (northern Brazil) architecture through its contemporary residential examples, investigating specifically its constructive, formal aspects, that together that together demonstrate one more architectural emphasis of modern Brazilian architecture: the potiguar. This way, by contributing to the work of the register and the documentation of the Modern Movement and attributing to the modern architecture of Natal it s real worth, we can say: Yes, we have modern architecture / O reconhecimento da arquitetura moderna brasileira ocorreu atrav?s da consagra??o de ?cones das Escolas Carioca e Paulista, representados nacional e internacionalmente por nomes como Niemeyer, L?cio Costa, Vilanova Artigas, entre outros. Dessa forma, os estudos mais cl?ssicos dedicados ao caso brasileiro recorrem em atribuir ? regi?o Sudeste o t?tulo de celeiro da modernidade no Brasil, ao custo da subjuga??o de diversas outras modernidades, ditas perif?ricas, cujos valores s?o desconhecidos ou esquecidos. Na contram?o dessa tend?ncia, tem havido um esfor?o no sentido de registrar e analisar essas produ??es regionais da arquitetura moderna brasileira, tarefa em que o DOCOMOMO Brasil participa firmemente atrav?s de iniciativas como a cria??o de sua Biblioteca, que auxilia na documenta??o e registro da modernidade no Brasil. Dentro desse contexto de inser??o de todas as modernidades no cen?rio modernista nacional, este trabalho tem por objetivo apresentar a arquitetura moderna potiguar atrav?s dos seus exemplares residenciais, investigando especificidades dos seus aspectos formais, construtivos e espaciais que, em conjunto, demonstram mais um sotaque da arquitetura moderna brasileira: o potiguar. Dessa maneira, contribuindo para o trabalho de registro e documenta??o do Movimento Moderno e atribuindo ? arquitetura moderna de Natal o seu real valor, poderemos dizer: Yes, n?s temos arquitetura moderna

This dissertation traces the emergence of the air raid shelter as the paradigmatic architecture of air defense under the Nationalist Party government in China during the War of Resistance against Japan (1937–1945). More broadly, it explores how air defense in general became an integral technology for the Nationalists’ “war of resistance and reconstruction” (kangzhan jianguo), a fascist project derived from total war, the globally circulating military-political idea that modern wars would enlist the entire populations and economies of nations in warfare while subjecting national populations and infrastructures to equally comprehensive violence. The Nationalists joined the world in confronting aerial bombing after the Empire of Japan bombed Shanghai in 1932. In response, the government and its military constructed air defense, a political and technological complex combining mass mobilization, through air raid drills and air defense organizations, with material technologies, like searchlights, anti-aircraft guns, and bomb shelters. The Nationalists found in air defense more than a military technology. To them, it also offered a set of tools and resources for fortifying their flailing attempts to unite China in a common national project, and even recasting the substance of that project. Air defense could forge a new society that invested all Chinese people in war as a necessary precondition for overcoming China’s colonial subjection. Where democratic institutions collapsed and appeals to common heritage and customs failed, the Nationalists used air defense to turn survival (shengcun) into the bedrock value of the national community. Meanwhile, a group of young architects associated with the journal Xin jianzhu in Canton identified air defense as an organizing problem for the nascent professional field of architecture. Rather than the stale historicism endorsed in Nanjing, and against China’s craft building traditions, the group championed modernist architecture, especially the International Style, whose principles of simplicity, functionalism, and rationality they saw as necessary for building modern, industrial, and hygienic Chinese cities capable of enhancing human life. Moreover, they argued that the technological instrumentality informing modernism made it the only style capable of preserving Chinese cities and people from modern threats like bombing. After the fall of Canton in 1938, members of the group took their mission to Chongqing, where they joined the Nationalist government in building air defenses in the wartime capital. In particular, this dissertation argues that the air raid shelter and air defense focused contradictions in the Nationalists’ fascist project for uniting and revolutionizing China as it traveled to Chongqing following the Nationalist escape from Japan’s invasion of the coast. Over the course of the War of Resistance, the principal technology of air defense shifted away from mass mobilization, as the Nationalists came to administer refugees and displaced people they had never governed before, and became located in infrastructure like city plans and air raid shelters. Air defense served to exclude surplus populations like women and the elderly, rendered redundant according to the state’s wartime needs for industrial production and conscripts, by dispersing them in satellite settlements outside the city, from which they constantly returned in search of work or material goods. Shoddy air raid shelters, in the meantime, revealed the fragile biology of real bodies beneath the fascist fantasy of the heroic political subject, as shelters failed to provide for basic needs like respiration. Over time, these two problems collided, as the state closed shelters in the city to dispersed people, exposing surplus populations to bombing, while civilians also languished in shelters that could still kill them. The goal of building national unity through survival collapsed into a confusion of inclusion and exclusion, life and death, with disastrous results, like the asphyxiation of around one thousand people in Chongqing’s largest public air raid shelter in June 1941. In these circumstances, professionals like the Cantonese architects and new state regulatory bodies produced proposals and standards for building better shelters, offering a technological resolution of air defense’s political contradictions and consolidating the transformation of air defense into a technical expertise.