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Antón, Dávila María Fiorella, Nalvarte Luzmila Zoila Inés Condemarin, Escobar Roberto Carlos Huamán, Quispe Sebastián Alejandro Meneses, and Bohada Juan Carlos Ramírez. "Deco - Love." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/625356.
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El presente trabajo de investigación se realizó para validar la viabilidad de crear una empresa dedicada a la decoración temática de habitaciones de dormitorio para parejas de la ciudad de Lima que desean evitar la infidelidad; es así como se crea DECO-LOVE una empresa que permitirá experimentar un momento romántico y fantasioso.
A Continuación, se mencionará las partes más relevantes del trabajo de investigación:
El Planeamiento Estratégico sirvió para tener una visión clara de las oportunidades que existe en el entorno. En el cual, se verificó que existe una tendencia alta de crecimiento sobre los temas sexuales.
La investigación de mercado ayudó a conocer cuáles eran las necesidades del público objetivo. Y con ello se decidió perseverar en el proyecto, ya que en el mercado no existe una empresa que pueda satisfacer esa necesidad.
En el plan económico y financiero se visualiza que el proyecto es rentable ya que el VPN es mayor a cero y cuenta con una TIR del 20 % para este proyecto y el 23 % para el inversionista.
En base a lo mencionado en las partes relevantes, se puede hacer una idea de lo atractivo que sería el proyecto en el mercado, debido que no existe competencia alguna. Esta oportunidad, haría que la empresa sea uno de los pioneros en el sector.
Finalmente, se recomienda la implementación del proyecto ya que los resultados obtenidos son favorables para su ejecución y para el inversionista.This present research work was done to validate the viability of creating a company dedicated to the thematic bedroom decoration for couples in the city of Lima who want to avoid infidelity; that is how DECO-LOVE is created as a company that allows to experience a romantic and imaginative moment. Relevant parts of the research work will be mentioned as follows: The Strategic Planning served just to have a clear vision of the opportunities that exists in the surroundings. It was noticed that a high growth tendency exists related to sexual issues. The Market Research helped to know which the target audience’s necessities were and with that, it was decided to persist in the project because there is no company within the market that can satisfy such necessity. It can be seen that the project is profitable within the economic and financial plan because the VPN is greater than zero and has a 20% IRR (Internal Rate of Return) for this project and 23% for the investor. On the basis of the relevant parts, it can be thought how attractive the project would be in the market due to the non-existing competition. This opportunity would make the company lead the way in its area. Finally, it is recommended to implement the project because the obtained results are favorable for its execution and investor.
Trabajo de investigación
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Prat, José 1981. ""Deco-Prat"." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/140097.
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Tesis para optar al grado de Magíster en AdministraciónCada vez son más los profesionales solteros que al comenzar su vida laboral desean independizarse comprando su primer departamento de no más de 50 metros cuadrados. Junto con ello, desean decorarlo e implementarlo, sin embargo su presupuesto es muy bajo o nulo para realizarlo, teniendo que esperar meses e incluso años para lograr una decoración e implementación adecuada con el estilo deseado. Frente a este escenario, en donde la demanda por departamentos pequeños aumenta cada vez más, DECO-PRAT pone a disposición el servicio de decoración e implementación temática al momento de la compra del departamento, así desde que el comprador del departamento comience a vivir en su nuevo hogar, este contará con la decoración e implementación deseada. Cabe mencionar además que este tipo de personas carecen de conocimiento en el ámbito de la decoración, diseño e implementación de departamentos, sin embargo desean vivir en un lugar acogedor de acuerdo a sus gustos y lo más importante; desean vivir en un lugar con estilo. El año 2014 se comercializaron 25.149 unidades de departamentos en el gran Santiago, en donde el 57% correspondió a departamentos de este tipo y durante el año 2015 se comercializaron 34.625 unidades de departamentos en el gran Santiago, en donde el 60% correspondió a departamentos de menos de 50 metros cuadrados debido a que el segmento objetivo continúa buscando viviendas unipersonales. Así el comprador del departamento vislumbrará mediante el servicio ofrecido que es su mejor solución para decorar e implementar su primer departamento, ya que el método de pago es mediante un monto adicional al valor cuota del crédito hipotecario que se suma a este, significando un aumento marginal, siendo casi imperceptible. DECO-PRAT coordinará con las Inmobiliarias que venden departamentos nuevos el ofrecimiento del servicio por parte de sus Ejecutivas de Venta. Para ello facilitará el material necesario en las salas de venta, con los tipos de decoración e implementación a ofrecer, en donde se podrán ofrecer las temáticas estándar: “Futbol”, “Vintage”, “Rock” y ”Fantasía”, las cuales son ajustables a la medida según el tipo de departamento de 1 dormitorio. Operacionalmente una vez que el Comprador haya firmado a DECO-PRAT la conformidad por el servicio de decoración e implementación realizado y recibido su garantía, la Inmobiliaria cancelará el monto de dicho servicio a DECO-PRAT al momento que el banco facilitador del crédito hipotecario al comprador, cancele a la Inmobiliaria el monto del departamento menos el pie + el monto completo por el servicio de decoración e implementación. Este trámite lo realizará la Inmobiliaria, luego de descontar su comisión (Ver Esquema 1). Financieramente la evaluación se realizó en un periodo de 5 años, obteniendo VAN y TIR favorables, en donde se espera vender 80 servicios el primer año, esperando aumentar la cantidad en un 40% cada año. De esta forma el tercer año será posible generar 157 servicios equivalentes a $126.699.596.- y para el quinto año 307 equivalentes a $ 569.312.656.-. Así, estamos frente a una oportunidad rentable y realizable para el inversionista interesado en este negocio. En general la industria cuenta con empresas y decoradores, los cuales realizan servicios de decoración, implementación y asesorías en la creación de ambientes. Entre ellos se encuentran: Decoideal, Decoración y Cortinaje MA, DDO, Galería Catherine Ortiz, Carola Rojas, entre otros, los cuales son básicamente consultores o trabajadores autónomos que entregan el servicio de decoración. A diferencia de este escenario en la industria, DECO-PRAT buscará entregar una solución distinta, mediante temáticas, las cuales puedan implementarse en más de 1 departamento por torre, generando así la mayor cantidad de negocios con clientes que obtendrán las siguientes ventajas competitivas: Un departamento decorado e implementado desde el momento que se entregan las llaves El pago por el servicio se incluye en forma menor dentro del pago del dividendo El cliente no debe interiorizarse en como se decora e implementa un departamento, ni debe cotizar por el servicio ni materiales El servicio se realiza en menos de 2 semanas Los materiales incluidos en la implementación cuentan con accesorios reales como por ejemplo; en el caso de una implementación “Rock” guitarras eléctricas reales El mercado objetivo corresponde a profesionales solter@s, desde los 22 años en adelante, los cuales buscan vivir en un ambiente con estilo y buena ubicación, incluyendo personas divorciadas que estén dispuestos a pagar un bajo monto adicional al valor cuota mensual de su crédito hipotecario. El equipo de la empresa contará con: Un Gerente Comercial (Socio): El cual se encargará de generar acuerdos con las distintas inmobiliarias, puesta en marcha del ofrecimiento por parte de las Ejecutivas, capacitación a la Inmobiliaria, mantención del acuerdo y postventa. Un Jefe de Operaciones: El cual estará encargado del taller y las instalaciones en los departamentos, coordinando las actividades diarias con los trabajadores. Tres Trabajadores: Los cuales se encargarán de desarrollar los trabajos en los departamentos. Luego el equipo irá creciendo de acuerdos a las necesidades de la empresa, principalmente en el número de Trabajadores, contando con 4 Trabajadores el tercer año y con 5 el quinto año, logrando de esta manera un equipo de 7 personas.
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Ekström, Johan, and Rikard Mickelsson. "Auto Deco Primer Valve." Thesis, Högskolan i Halmstad, Sektionen för ekonomi och teknik (SET), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17900.
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Auto Deco Primer Valve är ett projekt som har resulterat i ett förenklat startsystem för tvåtaktsmotorer. Att starta en tvåtakts motor med dragsnöre är både tidskrävande och jobbigt, därför vill projektgruppen ge samhället en lösning på problemet. Genom ett befintligt koncept har syftet varit att fullborda detta system genom en ny innovativ lösning i form av en multifunktionel ventillösning. Ventilen och dess ingående system är tänkt att ersätta två funktioner som återfinns på de flesta tvåtaktsmotorer idag: Dekompressionsventil och Chokereglage Vår nya ventil gör att det tidigare manuella systemet automatiskt, och tar på så sätt bort de steg som måste utföras innan motorn startas. Det nya systemet som förverkligas i ”Auto Deco Primer Valve” kommer att medföra många fördelar som beskrivs utförligare längre fram i rapporten. Målet vid projektets slut har varit att ta fram en fungerande prototyp vilket projektgruppen har åstadkommit. Arbetet har inneburit en stor del av kreativt tänkande, för att kunna kombinera vetenskap om bland annat pneumatik med ett mekaniskt system. För att bygga ett hållbart system som klarar marknadens tuffa krav och samtidigt inte är beroende av elektricitet så har stor del av arbetet bestått av att utveckla, beräkna, dimensionera, samt förenklat systemets olika delar och sedan modellera detta i Catia V5 R20. Projektet har resulterat i en funktionsprototyp med fullständigt CAD-underlag som Husqvarna AB kommer att använda till att vidareutveckla systemet. Med detta arbete vill vi ge samhället och framförallt skogsbranschen ett tillförlitligare hjälpmedel, genom en ny innovativ lösning, som gör att ett motorsystem för tvåtaktsmotorer blir mer driftsäkert, lättare att använda och snabbare att starta.
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Cabalfin, Edson Roy Gregorio. "Art deco Filipino power, politics and ideology in Philippine art deco architectures (1928-1941) /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=1054760324.
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CABALFIN, EDSON ROY GREGORIO. "ART DECO FILIPINO: POWER, POLITICS AND IDEOLOGY IN PHILIPPINE ART DECO ARCHITECTURES (1928-1941)." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054760324.
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Eriksson, Per. "Deco Retro : Designprocessen för att skapa ett varumärke." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19157.
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Denna rapport redogör för skapandet av varumärket Deco Retro. Samt den tillhörandedesignprocessen för att skapa en visuell identitet och profil för varumärket. VarumärketDeco Retro togs fram som ett undervarumärke till Kitsch Sweden AB som behövde ettvarumärke som passade deras nuvarande och framtida produkter. Deco Retro ska bidra meden stärkt identitet och värde för de produkter som ska säljas under varumärket. Designarbetetkring varumärket strävade framförallt efter att kommunicera den idé, identitet och de värdensom under projektet tagits fram för varumärket, samtidigt som det ska ha bidragit med enestetiskt tilltalande grafisk design. Resultatet av denna rapporten blev ett genomarbetatvarumärke med tillhörande visuell identitet, profil och flera tillhörande artefakter, redo attimplementeras.This report describes the creative work to create the brand Deco Retro. Together with therelated design process to create a visual identity and profile for the brand. Deco Retro wascreated as a sub-brand to Kitsch Sweden AB whom needed a brand more fitting their currentand future line of products. Deco Retro was created to contribute with a stronger identity andadded value to the products which sells under the brand. The design work surrounding thebrand was first and foremost trying to communicate the idea, identity and value which hasbeen developed for the brand during this project. The design is also supposed to have addedaesthetically appealing grafic design. The result of this report is a worked through brandwith related visual identity, profil and numerous related artefacts, ready to get implemented.
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Ngai, Sum-yee. "The vanishing link art deco architecture in Hong Kong between 1920 to 1960 /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31474214.
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Packard, Keiko I. "The spirit of asobi as seen in Sôtatsu's works." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894173.
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Gibson-Quick, Robyn. "Art Deco influences on women's dress from 1915-1925." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400076412.
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Packard, Keiko I. "The spirit of asobi as seen in Sôtatsu's works." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21904212.
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Windover, Michael Joseph. "Aestheticizing mobilities : art deco and the fashioning of interwar public cultures." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13709.
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Art Deco, as a mode of design, was a response to the conditions of post-World War I modernity, including the advent of “mass” culture, a desire for a return to order, and an intense interest in mobility—physical/geographical, conceptual, temporal, and social. This thesis argues that mobility lies at the heart of Art Deco as it fashioned public cultural spaces throughout the globe in the interwar years. Both the iconography and general formal qualities (whether zig-zag forms popular in the 1920s or streamlining of the 1930s) evinced the idea of movement, which suited the optimism of the 1920s as well as a desire for control in the period of socio-political unrest caused by the Depression.
This thesis explores some of the socio-political ramifications of the style as it entered the patterns and spaces of everyday life (i.e., lifestyle). The imaging of mobility so apparent on the surfaces of Art Deco points to the larger, interpenetrating systems of mobility that underpin the fabrication of modern public cultures. These “mobilities” included migration, transportation, commodity exchange, capital, and communication (notably print, film, and radio, but also fashion, design, and architecture). While the Deco appeared “new” in a manner consonant with the sense of immediacy (even fashionability) brought about by these mobilities, and optimistically gestured to a new world in the future-present, the style ultimately reinscribed the pre-existing social order. It was a cosmopolitan style: traditional yet modern, “worldly” in appearance yet local.
This thesis travels through a number of different spaces, envisioning Art Deco as a kind of crossroads—a style of flow and intermixture yet stability. While celebrating mobility, the Deco often masked other forms of (im)mobility. I examine these concepts in relation to the Marine Building in Vancouver, Bullock’s Wilshire department store in Los Angeles, the Regal and Eros cinemas in Bombay (Mumbai), and the design of radio cabinets in Canada. In so doing, the thesis suggests the reach of the Deco into everyday life and across the globe, and offers a new way to approach a style that is most often associated with the frivolous by emphasizing its socio-political implications.
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Ponder, Carmen Grace. "A hotel design for the art deco district of Miami Beach." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23161.
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Peng, Li-Hsun. "Crossing borders: a Formosan's postcolonial exploration of European Art Deco women designers." University of Southern Queensland, Faculty of Arts, 2007. http://eprints.usq.edu.au/archive/00004436/.
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[Abstract]: This is research on cultural identity and the history of design. The project, by applying aspects of postcolonial theories (third space, border theory and hybridity) to the history of the four women designers in the Art Deco period in Europe, explores the influences of Eastern cultures in developing their Western designperspective.Their experience in fighting against patriarchal society toward success is a useful analogy for my country Taiwan’s struggle to win recognition in the world. It isthrough the recognition of these four women designers’ contributions to design history that I present their stories as models to my design students in Taiwan toassist them in establishing their own design identity.The research findings indicate that these women designers’ benefited from Eastern culture and created a successful cultural mélange between the East and West. Similarly, my design students in Taiwan will have the opportunity toreverse the pathway in appropriating from the West to create new possibilities in the East. I argue that hybridity is a key component for responding to and foraddressing the identity crisis and internal disruption in present-day Taiwan. Through knowing and understanding these women designers’ achievements, Taiwanese students have a model for self-reflection to recognise the importance of our own cultural value to the world.
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Sanchez, Brandon (Brandon A. ). "Power at Battersea : understanding post-industrial Britain through an art deco monolith." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118703.
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Thesis: S.B., Massachusetts Institute of Technology, Department of Architecture, 2018.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 117-123).
In the modern age, a building serves a purpose beyond that of its intended architectural function. This is especially true of famous buildings, which become important as icons independent of their physical presence. When a building reaches a certain level of fame, its symbolic significance shifts not only as a result of its programming, but as a result of its political, social, and cultural context. These buildings often long outlive their original purposes. When this occurs, architects strive to find a way to best honor that building's history in their redevelopment. This thesis explores the symbolic history of one building in particular, Battersea Power Station in London. Constructed in a long period from 1929-1955, Battersea entered the cityscape in controversy. In less than a century Battersea has gone from environmental demon to beloved architectural icon, from the symbol of a nation's vulnerabilities to the symbol of a nation's ability to oppress. Its meteoric rise to international visibility in the 1970s led to its depiction in countless works of film, television, and other artistic media, each with their own interpretation of the building's significance. The new millenium has brought with it the opportunity to redevelop Battersea. However, its current redevelopment has brought with it a controversy comparable to that which mired its construction nearly a century ago. In a key period since the early 20th century, Britain has seen its industrially-fuelled empire collapse and its international standing fall. The rise and fall of Battersea can help trace Britain's national anxieties over the course of this post-industrial age. In so doing, Battersea Power Station indicates the power that architecture has not only to signify its socio-political context, but to influence it as well.
by Brandon Sanchez.
S.B.
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Jongens, Nicoline. "Declaring urban conservation areas: the Art Deco townscape of Vredehoek, Cape Town." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27344.
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The research question posed in this study asks what qualities, characteristics and cultural significance need to be embodied within an urban environment that make the area worthy of conservation-oriented protection through laws and policies. The research question was explored through an assessment of the townscape of Vredehoek, an informally(1) proposed conservation area in Cape Town where there is a relatively high concentration of Art Deco buildings. The selection of Vredehoek as a laboratory within which to ask this question is due to the presence of contested opinions amongst various stakeholders and heritage-claimants about the cultural significance embodied within the built fabric of this place. This study aimed to identify what elements of the built environment of Vredehoek are of special interest, what qualities and characteristics these elements of special interest embody, to understand and articulate the values that inform these qualities, and to identify to whom these elements are valuable and why. Criteria were established with which to determine whether the identified qualities and values are special enough that when synthesised, the resultant significance of the place warrants protection through heritage area designation. The criteria developed with which to assess and evaluate proposed urban conservation areas, including Vredehoek, require that such environments need to embody cultural significance and characteristics informed by an urban history reflected in its authentic manifestations developed over time through continuity of use with a high townscape quality established primarily through the aesthetic unity of its component parts. Through historical research, the studying, mapping and analysis of the area's urban morphology, built environment and natural landscape, and the identification and evaluation of values held by heritage-claimants and views held by those critical of Vredehoek's proposed designation, evidence regarding the conservation-worthiness of Vredehoek has been assembled and assessed within the framework of criteria developed to evaluate heritage area designation. It has been found that the environment of Vredehoek does not embody high townscape quality nor does a strong aesthetic unity of its components exist. Furthermore, the area is not a richly layered environment reflecting continuity of use, the existence of cultural significance within the place is limited to a relatively small part of the townscape - a collection of Art Deco buildings demonstrating a moderate degree of architectural merit. Thus the environment of Vredehoek does not meet the criteria required for heritage area conservation.
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Ngai, Sum-yee, and 魏深儀. "The vanishing link: art deco architecture in Hong Kong between 1920 to 1960." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31474214.
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Van, der Linde Willemina, and Willemina Dorfling. "Die neerslag van Art Deco in Suid-Afrika as manifestasie van 'n internasionale tydgees en styl, met spesifieke verwysing na die argitektuur." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51716.
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Thesis (PhD)--Stellenbosch University, 2000.ENGLISH ABSTRACT: The term Art Deco is derived from the renowned 1925 exhibition that took place in Paris, France namely L'Exposition des Arts Decoratifs et Industriels Modernes and only came about in 1966. It refers to the style that developed during the 1920's and reached a climax in the 1930's. Art Deco was a modernistic style and part of the Modern Movement. Many transformations, mixtures and ramifications of the style exist. The appearance of the style ranged from the avant garde to the classic. It was a complete and total style that manifested in diverse areas of the material and spiritual culture, for example furniture design, clothing, motor design and especially in architecture. The era between the two World Wars was characterised by a vast technological progress which was put to use in creating Art Deco products. The era was distinguished by new materials and building methods that reflected the modernistic time spirit. The roaring twenties was the age of the emancipated woman, known as the flapper and the age of cocktail parties, jazz and Charleston. It was an exciting era where man attempts to escape the sorrows of the previous world war. Art Deco was the prevailing style in architecture during the 1920's and 1930's. It was the style that was applied in architecture in Europa, Asia, Britain, America, New Zealand, Australia, Africa and particularly in South Africa. The most outstanding feature identifying Art Deco buildings was the emphasised verticality in facades. Further features of Art Deco buildings are the features of horizontality and curved lines and rounded corners which created a streamlined appearance. Ship style elements such as porthole windows and ship rails that showed an influence of expressionism were commonly used in Art Deco architecture. The ziggurat shape or stepped back building masses was used frequently. Geometrical shapes, parapets, flat roofs and the zigzag chevron motive were incorporated in designs. The Art Deco-style manifested in all areas of the South African architecture during the applicable Stellenbosch University http://scholar.sun.ac.za/ years. It embraced public, commercial, residential, entertainment, sport and recreational, ecclesiastical, industrial buildings and monuments. Although South African buildings often were of smaller format, they were fully fledged Art Deco buildings within the context of an international style. South African Art Deco buildings often had their own character due to local building materials such as South African marble and sandstone. South African architecture made its mark on the style of the ornamentation by the usage of local fauna and flora as decorative motifs. A definite manifestation of the Art Deco style occurred in South African architecture as an international style. South African Deco occupies a special place within the international Art Deco style, because of the contribution of the predominant local character.
AFRIKAANSE OPSOMMING: Die term Art Deco is afgelei van die wereldbekende 1925-uitstalling wat in Parys, Frankryk plaasgevind het, naamlik L'Exposition des Arts Decoratifs et Industriels Modernes, en het eers in 1966 in gebruik gekom. Dit verwys na die styl wat gedurende die 1920's ontwikkel het en 'n hoogtepunt in die 1930's bereik het. Art Deco is 'n modemistiese styl en vorm deel van die Modeme Beweging. Daar bestaan vele vervormings, vermengings en vertakkings van die styl. Die gedaantes wat die styl aangeneem het, het van die avant-garde na die klassieke gewissel. Dit was 'n volkome of totale styl wat op diverse terreine van die stoflike en geestelike kultuur tot uiting gekom het, byvoorbeeld in meubelontwerp, kleredrag, motorontwerp en veral ook in die argitektuur. Die tydperk tussen die twee wereldoorloe was tekenend van snelle vooruitgang op tegnologiese gebied, wat aangewend is om Art Deco-produkte te vervaardig. Die era is gekenmerk deur nuwe materiale en boumetodes wat die modemistiese gees van die tyd weerspieel het. Die roaring twenties was die era van die geemansipeerde vrou, bekend as die flapper en die era van skemerpartytjies, jazz en Charleston. Dit was 'n opwindende era waarin die mens van die ellendes van die voorafgaande Wereldoorlog probeer wegkom het. Gedurende die 1920's en 1930's is die Art Deco-styl in argitektuur in Europa, Asie, Brittanje, Amerika, Nieu-Seeland, Australia, Afrika en in die besonder in Suid-Afrika aangewend. Die belangrikste kenmerk waaraan Art Deco-geboue geidentifiseer kan word, is die van beklemtoonde vertikaliteit in fasades. Verskeie kenmerke waaraan Art Decogeboue gekenmerk word is die elemente van horisontaliteit, geronde hoeke en lyne wat 'n vaartbelynde voorkoms skep. Skeepsstyl-elemente soos die van patryspoortvensters en skeepsrelings wat 'n invloed van ekspressionisme toon, was algemeen in Art Decoargitektuur. Die ziggoeratvorm of trapvormige terugplasing van boumassas is vrylik gebruik. Geometriese vorms, borswerings, platdakke en die sigsag chevronmotief is in die meeste Art Deco-ontwerpe geinkorporeer. Die Art Deco-styl het op alle terreine van die Suid-Afrikaanse argitektuur gedurende die toepaslike jare 'n neerslag gevind. Dit sluit openbare, kommersiele, residensiele, vermaaklikheids-, sport en ontspanning, kerklike, industriele geboue en monumente in. Alhoewel Suid-Afrikaanse geboue dikwels 'n kleiner formaat as oorsese geboue aangeneem het, was dit volwaardige Art Deco-geboue binne die konteks van 'n internasionale styl. Plaaslik het die styl wel 'n eie karakter aangeneem, veral weens die gebruik van plaaslike boumateriale soos marmer en sandsteen. Ook wat die omamentele aspek betref, het Suid-Afrikaanse argitektuur sy eie stempel op die styl afgedruk aangesien Suid-Afrikaanse flora en fauna as versieringsmotiewe gebruik is. Daar het 'n definitiewe neerslag van die Art Deco-styl in Suid-Afrikaanse argitektuur plaasgevind, wat dit onbetwisbaar 'n manifestasie van 'n internasionale styl maak. Suid- Vfrikaanse Deco neem 'n besondere plek binne die internasionale Art Deco-styl in, waartoe die besondere plaaslike karakter baie bydra.
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Figueiró, Aline Fortes. "Art deco no Sul do Brasil : o caso da Avenida Farrapos, Porto Alegre/RS." reponame:Repositório Institucional da UnB, 2007. http://repositorio.unb.br/handle/10482/1602.
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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, 2007.Submitted by Debora Freitas de Sousa (deborahera@gmail.com) on 2009-08-25T21:25:15Z No. of bitstreams: 1 Dissert_Aline Fortes.pdf: 106658666 bytes, checksum: 23faa68083b01f18b2ddc8324f83633d (MD5)
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Este trabalho tem por objetivo identificar as características da arquitetura Art Deco executada no Sul do Brasil, por meio do estudo de caso da Avenida Farrapos de Porto Alegre. Para tanto, foi estudada a gênese do estilo a partir do contexto histórico europeu, norte-americano e latino-americano. Logo foi demonstrado de que forma o Art Deco foi incorporado na produção arquitetônica brasileira já na década de 1930. Em um terceiro momento, estudamos a arquitetura particular dos pavilhões da Exposição Comemorativa do Centenário Farroupilha em Porto Alegre (de 1935), cuja influência pode ser observada em vários exemplares da arquitetura gaúcha executados a partir de então. A Avenida Farrapos foi caracterizada por meio de seu histórico e da evolução dos Planos Diretores que influenciaram sua implantação e desenvolvimento. Por fim, foi realizada uma análise metodológica da composição das edificações mais representativas do estilo presentes na Avenida, o que nos permite falar de um Art Deco no sul do Brasil. ___________________________________________________________________________________________ ABSTRACT
This work has the objective to identify the characteristics of the architecture Art Deco performed in the South of Brazil, by means of the case of Avenue Farrapos, Porto Alegre. For so much, it was studied the genesis of the style in latin-america, north-america, europe, like his historical context. Right away, it was shown of that forms the Art Deco was incorporated in the Brazilian architectural output already in the decade of 1930. In a third moment, study the private architecture of the pavilions of the Commemorative Exposition of the Centennial Farroupilha in Porto Alegre (of 1935), whose influence can be observed in the architecture at several gaucho’s buildings that are performed since then. The Avenue Farrapos was characterized by means of his history and of the evolution of the Directors Plannings that influenced its implementation and development. Finally, it was carried out a methodological analysis of the composition of the most representative buildings of the present style in the Avenue, what permits us speak of an Art Deco in the south of Brazil.
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Dičkalnytė, Aistė. "1900-1940 m. Lietuvos baldininkystės raida: sociokultūriniai ir meniniai aspektai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120622_105728-95554.
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Darbe nuosekliai apžvelgiama 1900-1940 m. profesionaliosios meninės Lietuvos baldininkystės raida. Gilinantis į mažai tyrinėtą, tačiau aktualią gilesniam meniniam pažinimui XIX a. pabaigos.- XX a. I pusės profesionaliąją meninę Lietuvos baldininkystę, yra pristatomi žymiausi baldininkai ir jų kūryba. Tad tyrimo tikslas – charakterizuojant sociokultūrinį kontekstą atskleisti 1900-1940 m. Lietuvos baldininkystės raidą, analizuoti menininkų kurtus baldus bei baldų projektus ir apibūdinti jų meninę stilistiką. Darbo dėstymą sudaro trys dalys. Pirmoji skirta Lietuvos baldininkystės raidai nuo 1900 iki 1918 m. Čia aptariamas meno ir amatų sąjūdis europiniame kontekste, jo reikšmė Lietuvos baldininkystės vystymuisi. Taip pat apžvelgiama tuo laikmečiu vyravusi art nouveau stilistika bei analizuojamas A. Jaroševičiaus bei P. Rimšos baldininkystės paveldas. Antroji dėstymo dalis apžvelgia Lietuvos baldininkystę nuo 1918 iki 1940 m. Gilinantis į sociokultūrinį kontekstą nušviečiama baldininkystės padėtis, o taip tuo metu vyravusi art deco ir tautinio stiliaus samplaika. Analizuojami žymiausių menininkų kūriniai, bei interjerų projektams skirti projektai ir baldai. Trečioji dalis skirta baldininkystės sklaidai virtualioje erdvėje pateikiant internetinio tinklaraščio modelį bei mokslinį baldų katalogą.The present paper gives a consistent overview of the development of Lithuanian furniture making during 1900-1940. Focussing on Lithuanian furniture making in the first half of the 20th century, which has remained until recently little analysed yet fundamental to deepening one’s artistic perception, this paper sets out to analyse the furniture and furniture projects created by artists in the socio-cultural context. In order to shed light on the development of furniture making, the paper discusses the arts and crafts movement which emerged at the beginning of the 20th century and its impact on the development of Lithuanian furniture making. It also gives an overview of the Art Nouveau stylistics of the time and analyses the heritage of furniture making by A. Jaroševičius and P. Rimša. When Lithuania became independent after the First World War the life in the country changed, therefore, in order to shed light on the situation of furniture making during 1918-1940 the paper focuses on the interwar socio-cultural context and outlines the reasons of confluence of Art Deco and Ethnic Style in furniture making. It also analyses the works of J. Prapuolenis, the most famous interwar cabinetmaker, and discusses the sketches of furniture of G. Bagdonavičius as well as the unique furniture design of P. Galaunė. During the interwar representative interiors served as an important means of expressing national identity, therefore, the paper analyses the furniture projects of interior... [to full text]
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Enerstam, Max. "Garvsyrebetsning : Betsning under 1920-talet." Thesis, Mittuniversitetet, Avdelningen för industridesign, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-28280.
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I denna uppsats kommer beskrivas hur den naturliga garvsyrehalten som finns i vitekens virke kan användas tillsammans med ammoniak eller järnsalter för att kraftigt förändra ekvirkets kulör, detta genom ammoniakrökning och kemisk betsning. Detta var den metod jag använde mig utav när jag tillverkade min examensmöbel. Hela examensmöbeln tillverkades i ek med en mörkbrun valnötsliknande färgton och detta uppnåddes genom en reaktion mellan ammoniak och ekens garvsyra. Jämförelser mellan denna arbetsmetod och den idag vanligare färgbetsningen tas också upp. Under 1920-talet var kemisk dubbelbetsning det nya sättet att med industriell effektivitet och resultatsäkerhet betsa möbler och inredning. Detta effektivare arbetssätt framkommer endast efter mycket förberedelser och många tester för att kunna vara helt säker på resultatet. Däremot är resultatet eftersträvansvärt i sin kulör och slittålighet, eftersom rökningen dras in djupare i ekvirket än någon annan betsmetod får man en möjlighet att i efterhand slipa, hyvla eller på annat sätt finjustera. I de praktiska testerna som utfördes inför denna uppsats visade sig att om man använder sig av virke från samma träd kommer kulörresultatet även bli detsamma, detta kunde dock variera något mellan olika träd eftersom trädens garvsyrehalt kan variera.
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Oki, Domínguez Kenji Anthony, and Reyes Silvio Alexander Ramos. "Sistema de información para la gestión de reacciones adversas de medicamentos del Grupo Farmacéutico Deco." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/627705.
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Hoy en día las consecuencias tóxicas del uso de algunos medicamentos generan especial preocupación entre los pacientes, los médicos prescriptores, los dispensadores y las autoridades reguladoras, pues las reacciones adversas de los medicamentos son una causa importante no solo de consulta médica sino también de ingreso hospitalario, y, en ocasiones, de la muerte del paciente. Además, en los últimos años se han retirado del mercado numerosos medicamentos que fueron detectados durante su comercialización.
El propósito de este proyecto de tesis es desarrollar e implementar un sistema de información para la gestión de reacciones adversas de medicamentos. A partir de dicho objetivo se realizaron las actividades que corresponden al ciclo de desarrollo del software según rup, tomando como base los requerimientos de la organización siendo estos asociados a sus objetivos estratégicos y a cumplir la ley ante los entes reguladores del estado peruano. De este modo, se concluyó que teniendo un sistema integrado entre las empresas farmacéuticas y el estado se reducirá las incidencias de reacciones adversas de los medicamentos en la población peruana.Today the toxic consequences of the use of some medications generate special concern among patients, prescribing doctors, dispensers and regulatory authorities, as adverse drug reactions are an important cause not only of medical consultation but also of hospital admission , and, sometimes, of the death of the patient. In addition, in recent years numerous medications that were detected during marketing have been recalled. The purpose of this thesis project is to develop and implement an information system for the management of adverse drug reactions. Based on this objective, the activities that correspond to the software development cycle according to rup were carried out, based on the requirements of the organization being these associated with its strategic objectives and to comply with the law before the regulatory entities of the Peruvian state. Thus, it was concluded that having an integrated system between pharmaceutical companies and the state will reduce the incidence of adverse drug reactions in the Peruvian population.
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Hayden, Sara Elisabeth. "Creating cloth, creating culture : the influence of Japanese textile design on French art deco textiles, 1920-1930." Online access for everyone, 2007. http://www.dissertations.wsu.edu/Thesis/Summer2007/S_Hayden_072607.pdf.
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Henriksson, Carina. "Tamara de Lempicka : Expressivt och dekorativt." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-375243.
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Woodcock-Squires, Zoe E. "Art Deco poets : reframing the works of W.H. Auden and Louis MacNeice in the context of Interwar Visual Art." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17419.
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This thesis examines works by the British interwar writers W.H. Auden and Louis MacNeice in the context of their relationship with the contemporary style of visual art known as Art Deco or the Moderne. It is my contention that, having absorbed many of the Art Deco idioms as an accepted part of the world they experience, these are reflected in the writers' works, firmly relating the work to a unique historical moment, place and social and cultural environment. In my reading of their work I identify sources of inspiration in their themes, idioms and imagery common to the artistic style, and investigate the extent to which their work has been informed in content and composition by visual art. Using diaries, travelogues, letters, essays, prose and poetry, I will argue that if Art Deco characterised the interwar period, it follows that it will also characterise the work of Auden and MacNeice. As such, I seek to reframe their work in an entirely new context, one seemingly unnoticed by earlier critics. My project also considers the ways in which a worldview is formed and environments are learned from childhood, with reference to early twentieth-century psychologists Erich Fromm, Lev Vygotsky and Maria Montessori, in order to posit the notion that growing up in the heyday of Art Deco, Auden and MacNeice may have subceived a great many of its motifs. I also identify the ways in which the writers engage visual art with intent, and establish a relationship between the writers and Art Deco's politics, imagery and composition through discussion of individual poems and their co-authored book Letters From Iceland (1937). In particular, the thesis examines the presence and impact of Art Deco elements in their work, such as Cubism (using both visual and literary examples), Futurism, the cinema, the Ballets Russes, and interwar attempts at producing what Wagner termed gesamtkunstwerk, the 'total work of art'.
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López, Velásquez Stephanie Gabriella. "Estrategias del Post venta en el valor de marca en la categoría Deco hogar en las tiendas por departamento." Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652696.
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En los últimos años, la categoría Deco Hogar en las tiendas por departamento han comenzado a tener una tendencia mayor de compra. Asimismo, el proceso de compra de estos productos es categorizado como una venta planificada, no por impulso. En la actualidad, los analistas del mercado se enfocan en crear estrategias para que el cliente final considere dentro de su planificación la compra de productos de decoración para el hogar. Sin embargo, existe una teoría, respaldada por especialistas que ejercer un plan de venta, no solo debe enfocarse en la meta final de la compra, sino en la última que sería la postventa. Esta te permite en lograr una diferencia en el mercado, crear fidelidad y preferencia por el consumidor, ya que crea una línea adicional de comunicación el cuál te permite escuchar la opinión del servicio presentado y lograr mejoras en el. En este sentido, en la presente investigación se enfocará en resolver la hipótesis de si las estrategias de post venta como; Satisfacción del cliente, facilidad de acceso y manejo de quejas y reclamos influirían en el valor de la marca. Esta investigación lo enfocaremos en los productos de la categoría Deco hogar. La metodología a utilizar será cuantitativa y cualitativa. En la cualitativa, se hará 3 entrevistas a especialistas y 2 Focus group con un total de 12 personas. Por otro lado, la cuantitativa será de 250 encuestas al público dirigido del servicio.
El resultado de esta investigación, gracias a un modelo de regresión lineal múltiple se pudo resolver el fenómeno de la influencia de las estrategias de la post venta en el valor de marca. Dando como resultado, ser de un carácter concluyente. De acuerdo antiguas investigaciones de las variables y de los resultados obtenidos en el análisis cuantitativo se pudo tener el mismo acuerdo, de que la variable dependiente Valor de marca influiría en las independientes que serían las estrategias de la post venta. Por último, los comentarios que se harían a la gerencia de cualquier tipo de comercio, es la recomendación de utilización de esta estrategia, ya que está comprobado que aplicaría un incremento en volúmenes de venta y fidelización del cliente en gran medida. Por último, para una mejor investigación de estrategias a utilizar en el post venta, se podría realizar una investigación más profunda, segmentando grupos y cambiando de variables como garantías, calidad de servicio, etc.In recent years, the Deco Home category in department stores has begun to have a higher buying trend. Also, the purchase process of these products is categorized as a planned sale, not by impulse. Currently, market analysts focus on creating strategies for the end customer to consider within their planning the purchase of home décor products. However, there is a theory, backed by specialists that exercise a sales plan, should focus not only on the final goal of the purchase, but on the last one that would be the after-sales. This allows you to make a difference in the market, create loyalty and preference for the consumer, since it creates an additional line of communication which allows you to listen to the opinion of the service presented and achieve improvements in it. In this sense, this research will focus on resolving the hypothesis of whether post-sales strategies as; Customer satisfaction, ease of access and handling of complaints and complaints would influence the value of the brand. This research will focus on products in the Deco home category. The methodology to be used will be quantitative and qualitative. In the qualitative, there will be 3 interviews with specialists and 2 Focus group with a total of 12 people. On the other hand, the quantitative will be 250 surveys to the targeted public of the service. The result of this research, thanks to a model of multiple linear regression, was able to solve the phenomenon of the influence of post-sales strategies on brand value. Resulting in being conclusive. According to previous investigations of the variables and the results obtained in the quantitative analysis, the same agreement could be had, that the dependent variable Brand value would influence the independent ones that would be the post-sales strategies. Finally, the comments that would be made to management of any type of trade, is the recommendation to use this strategy, since it is proven that it would apply an increase in sales volumes and customer loyalty to a large extent. Finally, for better research of strategies to be used in the post-sales, further research could be carried out, segmenting groups and changing variables such as guarantees, quality of service, etc.
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Lutz, Mark L. "Precedent and context." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23153.
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Salvador, Sabrina Carnin. "As edificações art déco na paisagem urbana." Florianópolis, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/96403.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Graduação em Arquitetura e UrbanismoMade available in DSpace on 2012-10-26T11:41:17Z (GMT). No. of bitstreams: 1 309942.pdf: 12642865 bytes, checksum: c66cec687a3fe90d93133ca7b99e49ba (MD5)
Algumas cidades brasileiras tiveram o auge do seu desenvolvimento durante a expansão do Art Déco no Brasil, por esta razão contém hoje conjuntos edificados desse estilo. A falta de conhecimento da população e especialistas que atentem para o valor arquitetônico e histórico que possuem as edificações Art Déco tem gerado desvalorização e ausência de medidas preservacionistas em diversas cidades. Este trabalho busca analisar as edificações Art Déco para compreender a sua importância no contexto da paisagem urbana. Buscou-se analisar por pesquisa bibliográfica a importância da linguagem Art Déco na arquitetura e como representação de um período histórico no contexto da paisagem urbana. A manutenção da paisagem urbana na cidade de Criciúma através da preservação de seus referenciais históricos também foi analisada na pesquisa bibliográfica. Para complementar os dados alcançados foi realizada uma pesquisa de campo na Rua Conselheiro João Zanette, no município de Criciúma/Santa Catarina. Foi possível identificar e caracterizar as edificações Art Déco da rua em questão por meio de um inventário, específico para esta pesquisa, criado pela autora. A leitura da paisagem urbana, onde estão inseridas as edificações inventariadas, foi feita pelos aspectos físicos e sociais. Os aspectos físicos foram por meio de levantamento de dados. Os aspectos sociais compreenderam histórico da Rua Conselheiro João Zanette por meio de pesquisa bibliográfica e percepção ambiental por meio de questionários aplicados para usuários da paisagem pesquisada. Observou-se através desta pesquisa que os usuários reconhecem as edificações Art Déco por sua importância histórica para a cidade, mas faltam ações do poder público que incentivem sua preservação. Na paisagem urbana estudada, as edificações em Art Déco perdem sua força devido ao excesso de elementos físicos que dificultam a orientabilidade do usuário e a apreensão da paisagem. A manutenção da paisagem urbana é essencial para preservação do caráter histórico que apresenta
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Ackerstierna, Paula. "The Environmental Impact of an Automotive Plastic Component : A lifecycle approach of a deco panel scenario analysis of two different plastics." Thesis, Karlstads universitet, Fakulteten för hälsa, natur- och teknikvetenskap (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-73177.
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The transport sector is a major end-user of energy. As consumers are becoming aware and conscious of their environmental footprint making the enviromental footprint of automobile components one of the requirements in new product design development. The purpose of the study is to identify environmental impacts of a plastic panel. The main objective of the study is to perform an environmental life cycle assessment (E-LCA) of an existing panel regarding four scenarios with a nonbio-based plastic and a bio-based plastic. The first two scenarios have the same production and use phase, but different end-of-life treatments. The plastic in these scenarios is non-biobased. The last two scenarios have the same bio-based plastic and use phase, but different end-of-life-treatments. The first three scenarios have a surface material covering the plastic. The environmental impacts analyzed are global warming potential, acidification potential, eutrophication potential, photochemical ozone creation potential, primary energy demand and particulate matter. The analysis is carried out according to the ISO14040/44 with the four steps of LCA: 1) Goal and Scope Definition, 2) Inventory Analysis, 3) Impact Assessment, and 4) Interpretation. The functional unit of the anaysis is a plastic panel. The inventory was collected by literature, the LCA software GaBi, and the commissoner of the study. The environmental impact assessment was conducted in GaBi 8 with the method of CML2015, Primary Energy, and IMPACT2002+. A dominance and a contribution analyses were applied to identify the hotspots of the life cycle. The hotspot of the life cycle was identified to be the production phase. The main contributor within the scenarios was the plastic production, specifically the granulates and the fiber fillings. The bio-based plastic reduced the impacts compared to the non-bio-based in five out of six cases. However, the photochemical ozone creation potential for both plastics were the same. The bio-based plastic reduced the GWP 16%, AP by 1%, EP by less than 1%, and PED by 19%. If the surface cover in aluminum was removed, the GWP was reduced by 46%, AP by 35%, EP by29%, POCP by 36%, PED by 42%and PM by 40%. The transportation contributed most to impacts in the acidification potential, eutrophication potential, and particulate matter. The transportation’s impacts were greater in the bio-based plastic than the non-bio-based. The granulates of the plastic along with the injection molding are the main contributors due to usage of coal-based electricity for the injection molding and oil for the plastic production. The values used in the study are based on country averages which may differ depending on geographic location and its development as China is a country with a large area. The GWP is the highest value of the impacts analyzed, but even though the other are small fractions these may cause great damages. These damages can irritate eyes, damage lungs and destroy photosynthesis. By using recycled material for products instead of new materials, as done in the study, the impacts could be lower. As some previous studies agrees, the usage of bio-plastics lowers the environmental impact by a few percentages. The bioplastic is an environmentally sustainable option to the current plastic as the location of the panel is not sensitive to excessive heat.
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Ferrari, Gerard Justin. "Gizmology." VCU Scholars Compass, 1999. http://scholarscompass.vcu.edu/etd_retro/104.
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I find a similarity between my work and the absurd character of many of the unrealized inventions of earlier times. An example of the latter is the Saluting Device, whch allowed a gentleman to tip his hat without having to use his hand. These machines were never produced for popular use precisely because of their absurdity. Unlike these inventions, however, my sculptures are not created to perform any useful function. I intend them to be viewed as satirical, comical, and fictitious oddities through which I work to convey ideas and feelings about the dilemmas of modem society. Like a machine, our society needs careful maintenance and fuel to function smoothly, but it is, I believe, running out of energy and beginning to break down. I build my obsessive-compulsive objects to resemble household appliances and toys. Ths is an attempt to establish a comfort level for the viewer. Contemplation of ,these machnes will, I hope, spark the viewer's curiosity and stimulate their imagnation to propel and enable the objects to perform their intended satirical purpose. My creative process starts with intuitive pencil sketches that resemble crude technical drawings. The drawings suggest machnes that might perform some imagnary function. I determine the function and then fkther refine the drawing. The final drawing becomes a reference point and sometimes a template for the building process. For further interpretation and intricacy, I allow for deviation from the drawing as I build. The buildmg process begms with an interior frame which is similar to house construction, except that I use clay slabs instead of framing boards. After the skeleton is complete, I enclose the structure and make any parts that must be added or assembled after firing. I use whatever type of builQng procedure necessary to complete the object; this may include coil building, wheel throwing, extruding shapes, and surface carving. Through these odd, imagnative gizmos and gadgets, I offer social commentary. I have chosen satire and humor to engage the viewer in various ways of looking at the modem world. This is an attempt to provoke joyful imagination and intrigue through the intricacy of the pieces. I also suggest my view of the current human condition through the precariousness of the various elements in these sculptures. Finally, my work is an attempt to provide another context from whch to view and respond to our place and time in history.
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Sadigh, Kianouche. "L'architecture art déco à Reims." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010602.
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Ville front placée quatre ans durant sous les bombardements, à la fin de la guerre, Reims est ravagée et détruite. La reconstruction s'effectue dans un contexte de gestion individuelle des indemnités sans que l'état ou les collectivités locales n'intervienne dans les choix des habitants. C'est ainsi que l'Art déco (à la fois un style et le reflet d’une époque) a trouvé sa place dans la ville, d'une façon naturelle. Reims renaît de ses cendres et atteint, le premier rang pour le nombre de permis de construire déposés en France, mêlant à une trame urbaine remodelée (par un plan de restructuration) sa nouvelle apparence inspirée par l'Art déco. Ce style a permis de répondre aux besoins des habitants meurtris par la Guerre, par la conjugaison judicieuse de l'art et de l'industrie. L'architecture qui résulte de cette reconstruction valut à la ville la dénomination de «capitale de /'Art déco ». Les rémois ont pu s'approprier ce style à travers une expression plus personnelle : l'originalité de l'architecture Art déco réside dans le fait que l'ornement se revêt de signification, non seulement il souligne la structure et fait corps avec l'édifice, mais selon les figures choisies et même la variété des plantes, il se révèle porteur d'émotion et pourvu de profondes significations. A titre d'exemple, la pomme de pin, symbole d'éternité se voit sur plusieurs des façades de la période de la reconstruction à Reims. Bien que les ravages aient largement démontré l'inverse, faire sculpter un tel symbole, c'était indéniablement nier le message des destructions. Ainsi, ce patrimoine doté d'un symbolisme unique et émouvant, est devenu aujourd'hui un élément de l'identité rémoiseOn the front lines for four years under bombardments, at the end of the war, Reims is ravaged and destroyed. The reconstruction is made in a context of individual management of the allowances without the state or the local authorities intervenes in the choices of the inhabitants. This is the way the Art deco (at the same time a style and the reflection dune period) found its place in the city, in a natural way. Reims is reborn of its ashes and achieves, the first rank for the number of building permits requested in France, involving with a remodeled urban network (by a restructuring plan) its new appearance inspired by the Art deco. This style allowed to meet the needs of inhabitants bruised by the War, by the sensible conjugation of the art and of the industry. The architecture which results from this reconstruction was worth in the city the nickname of " capital of the Art deco ". The inhabitants of Reims were able to appropriate this style through a more persona! expression: the originality of the architecture Art deco lies in the fact that the ornament puts on meaning, not only he underlines the structure and is at one with the building, but according to the chosen figures and even the variety of plants, he shows himself carrier of emotion and provided with profound meanings. As an example, the pine cane, the symbol of eternity is on several of the facades of the period of the reconstruction in Reims. Although the devastation widely demonstrated the opposite, make sculpture such a symbol, it was unmistakably to deny the message of the destructions. So, these holdings endowed with a only and moving symbolism, became today an element of the Reims identity
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SCHRAMM, Solange Maria de Oliveira. "Arquitetura do Estado Nacional: o estilo Art Déco e o edifício da Estação Ferroviária Central do Brasil." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/14540.
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SCHRAMM, Solange Maria de Oliveira. Arquitetura do Estado Nacional: o estilo Art Déco e o edifício da Estação Ferroviária Central do Brasil. 2015. 236f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2015.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-16T12:50:59Z No. of bitstreams: 1 2015_tese_smoschramm.pdf: 8151830 bytes, checksum: e83a18257502e1005fe0072e663e099e (MD5)
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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.
Esta tese consiste no empenho de construir sociologicamente uma análise e interpretação da arquitetura como expressão simbólica do Estado Nacional. Investiga a gênese e características do estilo Art Déco e seu uso como forma estética adequada à modelagem da fisionomia da máquina estatal. O Art Déco foi predominante em edifícios construídos para abrigar a administração pública, reorganizada e ampliada, entre os anos 1930 e 1945, no Brasil. A pesquisa propõe, em especial, uma interpretação sociológica do imponente edifício da Estação Ferroviária Central do Brasil, erguido na cidade do Rio de Janeiro, entre os anos de 1936 e 1943, concebido consoante aquele estilo. Esse marco arquitetônico é analisado como obra referencial do ideário modernizante do Estado centralizador e autoritário que então emergia.
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Vargas, Simone Lehnhart. "DESIGN E PATRIMÔNIO EDIFICADO: MEMÓRIAS DA ARQUITETURA ART DÉCO EM SANTA MARIA RESIGNIFICADAS NO MUNDO DA JOIA." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/11003.
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This study integrates the fields of Design and Cultural Heritage in order to communicate meanings and values of tangible and intangible. It set the following objectives: to identify, select and document, through iconographic material, examples of Art Deco architecture in the Historic Centre of Santa Maria, Rio Grande do Sul, using the architectural framework selected as the inspiration for the design and production of a jewelry collection, final product of this research; contribute to a new way to looking at Santa Maria architectural heritage, especially the Art Deco, as memory, identity and narrative culture and history of the city. The research was didactically structured in three chapters. Chapter I - Literature Review, contextualized study exploring the following themes: Culture, Cultural Heritage, City of Santa Maria, Art History, Product Design, and Semiotics. Chapter II - Methodology, describes the steps undertaken, presented the data obtained from field research and iconographic documentation. Chapter III - Dissertation Results & Discussion, introduced the final product from the research whereas analysis and discussion of the results. Considering the objectives outlined, it was observed they were achieved as the final product contains the characteristics of this research to which it has initially purposed. The jewelry collection "Art Deco Memory" in essence brings a strong and well defined concept, which refers to the bias Deco architecture, providing high added value to the product, mainly because of the theoretical sources that supported the construction of thought and the process of creation. Reframe this heritage in the world figured jewel as a way of evaluating and disseminating the cultural heritage of a particular time and space, providing opportunities for the community to identify its roots and memories, and, as appropriate, construct and reconstruct their values and history.O presente estudo integra os campos do Design e do Patrimônio Cultural com o intuito de comunicar significados e valores materiais e imateriais. Assim, estabeleceu os seguintes objetivos: identificar, selecionar e documentar, através de material iconográfico, exemplares da arquitetura Art Déco no Centro Histórico da cidade de Santa Maria, Rio Grande do Sul, utilizando o conjunto arquitetônico selecionado como referencial para o desenho e produção de uma coleção de joias, produto final dessa investigação; contribuir para um novo olhar ao patrimônio arquitetônico santa-mariense, sobretudo o Art Déco, enquanto memória, identidade e narrativa da cultura e da história do município. A pesquisa foi didaticamente estruturada em três capítulos. O Capítulo I, Revisão Bibliográfica, contextualizou o estudo, explorando os seguintes temas: Cultura, Patrimônio Cultural, Cidade de Santa Maria, História da Arte, Design de Produto, e Semiótica. O Capítulo II, Metodologia, descreveu as etapas desenvolvidas, apresentou os dados obtidos a partir da pesquisa de campo e a documentação iconográfica. O Capítulo III, Resultados e Discussão, apresentou o produto final da investigação, bem como a análise e a discussão dos resultados obtidos. Considerando os objetivos delineados, observou-se que os mesmos foram atingidos, na medida em que o produto final dessa pesquisa encerra as características a que se propôs inicialmente. A coleção de joias "Memória Art Déco" traz em sua essência um conceito forte e bem definido, o qual remete à arquitetura de viés Déco, conferindo um elevado valor agregado ao produto, sobretudo em razão do aporte teórico que fundamentou a construção do pensamento e do processo de criação. Resignificar esse patrimônio no mundo objetual da joia figurou como um modo de valorar e difundir heranças culturais de um determinado tempo e espaço, oportunizando à sociedade identificar suas raízes e memórias; e, a partir disso, construir e reconstruir seus valores e sua trajetória.
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Cortes, Marcele Della Flora. "VALORIZAÇÃO E IDENTIFICAÇÃO DE PADRONAGENS DE LADRILHOS HIDRÁULICOS DE 1920 A 1940, PERÍODO ART DÉCO BRASILEIRO, PRESENTES EM PRÉDIOS E CASAS DO CENTRO HISTÓRICO DE SANTA MARIA/RS." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/11058.
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Architecture is a form of human expression with its surroundings, making the scenery around a living organism in constant evolution and transformation. It is a record of the time that protects artistic, human and cultural expression of people throughout their stories, that is, from past periods buildings that manage to stay in the current landscape, allowing us to know the society, culture, daily life, relationships, materials and technologies used, both for its construction and for arranging the interiors of our ancestors. An example of this was the hydraulic tile, object of study of this research and an important decorative coating, widely used not only in Brazil but worldwide. The hydraulic tile is a form of artistic expression that persists to the present day, where its manual production is increasingly being lost, since currently very few companies still work with the production of these pieces. Thus, this research aims to conduct a survey on the patterning of the samples of hydraulic tile floor coverings that still persevere in real state's Art Déco, consolidated style in the years of 1920-1940, in the boundary of the researched zone: Zone 2, Historical Center of Santa Maria. For a better foundation and greater understanding of the problem, this study used a qualitative and quantitative methodology. It began with a bibliographic research about the main topics to be analyzed during the investigation, such as the history of the city of Santa Maria, its situation during the period under review, the Art Déco, hydraulic coatings used at the time, as well as the hydraulic tile as cultural heritage worthy of preservation. After the search of theoretical basis, began the data collection in the historic center of the city in order to find the remaining hydraulic tiles of the Art Déco period. Thirty-six patterns were found in thirty-two Déco buildings, however, it was realized that the population living in these areas did not have awareness of the importance of preserving these assets accounted for exposing part of our aesthetic architectural, social and cultural heritage. Thus this research also seeks to collaborate with the awareness, knowledge and preservation of the use of hydraulic tile through a brochure that will elucidate the community about the importance of preserving these assets.A arquitetura é a forma de expressão do homem com seu entorno, fazendo do cenário ao seu redor um organismo vivo em constante evolução e transformação. É um registro do tempo que resguarda a expressão humana, artística e cultural dos povos no decorrer de suas histórias, ou seja, edificações de períodos passados que conseguem manterem-se na paisagem atual, permitindo-nos conhecer a sociedade, as culturas, o cotidiano, as relações, os materiais e as tecnologias utilizadas, tanto para sua construção, quanto para arranjar os interiores de nossos antepassados. Um exemplo disso foi o ladrilho hidráulico, objeto de estudo desta investigação e um importante revestimento decorativo, muito utilizado não só no Brasil, como no mundo todo. O ladrilho hidráulico é uma forma de manifestação artística que persiste até os dias atuais, onde sua produção manual está cada vez mais se perdendo, já que atualmente poucas empresas ainda trabalham com a produção dessas peças. Assim, a presente pesquisa, tem como finalidade realizar um levantamento sobre a padronagem dos exemplares dos pisos de revestimento em ladrilho hidráulico que ainda perseveram-se nos imóveis Art Déco, estilo consolidado nos anos de 1920 à 1940 da zona limítrofe da pesquisa: a Zona 2, Centro Histórico de Santa Maria. Para melhor fundamentação e maior entendimento do problema, essa pesquisa se utilizou de uma metodologia de cunho qualitativo e quantitativo. Teve início com pesquisas bibliográficas acerca dos principais tópicos a serem analisados no decorrer da investigação como a história da cidade de Santa Maria, sua conjuntura durante o período em análise, o Art Déco, os revestimentos hidráulicos utilizados na época, assim como, o ladrilho hidráulico como patrimônio cultural digno de preservação. Posterior à busca da fundamentação teórica, teve início à coleta de dados no centro histórico da cidade a fim de encontrar ladrilhos hidráulicos remanescentes do momento Art Déco. Trinta e seis padronagens foram encontradas em trinta e duas edificações Déco, porém, percebeu-se que a população residente nessas áreas não possui ciência da importância em se preservar estes bens responsáveis por expor parte do nosso patrimônio arquitetônico estético, social e cultural. Desta forma, esta investigação também busca colaborar com a conscientização, conhecimento e preservação do uso do ladrilho hidráulico, através de um folheto que elucidará a comunidade sobre a importância em se preservar esses bens.
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Franco, Sérgio Miguel Gouveia. "A obra de Edmundo Tavares no Funchal." Master's thesis, [s.n.], 2012. http://hdl.handle.net/10284/3732.
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Dissertação apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Arquitetura e UrbanismoA presente dissertação é resultado duma investigação sobre a obra do arquiteto Edmundo Tavares no Funchal. O trabalho realizado tem como intuito a conclusão do Mestrado Integrado em Arquitetura e Urbanismo, pela Universidade Fernando Pessoa. A obra deste arquiteto na cidade do Funchal é de importância maior, e pouco divulgada, nomeadamente face ao legado que esta constitui, e do corolário do mesmo, no progresso da arquitetura moderna na Ilha da Madeira. O primordial objetivo desta dissertação é levantar e analisar a produção arquitetónica do autor nos anos em que viveu no Funchal - 1932 a 1939 - particularmente através do levantamento arquivístico, tão exaustivo quanto possível, da documentação administrativa e da produção escrita com ela relacionada, sustentando essa análise numa contextualização histórica alargada. Esta investigação permitiu perceber e precisar documentalmente um percurso estilístico próprio, e uma produção grandemente ignorada. Numa fase de mudança de tendências arquitetónicas, Edmundo Tavares consegue ser um caso típico e ao mesmo tempo único da arquitetura portuguesa na década de 30 do século XX. The following dissertation is the result of the study of the work of the architect Edmundo Tavares in Funchal. The research conducted concludes my integrated master's degree program in Architecture and Urban Planning, followed at Fernando Pessoa University. The legacy left by this architect on Funchal is often underestimated and is poorly known, all the more so in face of the bulk of his production, and its consequences, bearing a substantial value on the evolution of the modern architecture on Madeira island. The foremost goal of this thesis is to list and analyze the architectural production of the architect in the years that he lived in Funchal - from 1932 to 1939 - particularly through archive survey, as thorough as possible, of administrative documentation related to his works, as well as his written testimony on architecture, and to ground an analysis on a broad historical context. The research allowed an understanding of a personal stylistic path and a largely ignored architectural heritage, and provided objective information about it. In a moment of changing architectural trends, Edmundo Tavares manages to be simultaneously a typical and a unique case within Portuguese architecture of the 1930's.
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Sikora, Cade Michael. "Finding Freedom in the Forest: Creating Magic in the Scenic and Properties Design for a Production of William Shakespeare's A Midsummer Night's Dream." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587048946953534.
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Munduruca, Elianne Auxiliadora Moreira Borges. "Reabilitação em edifícios e monumentos art déco – métodos de avaliação dos revestimentos de fachadas." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3780.
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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.
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Lacroix, Di Meo Elodie. "Mise en récits et réévaluation de l'Art Déco des années soixante à nos jours." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30035.
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L’étiquette « Art Déco » apparaît au milieu des années 1960 pour désigner des créations mobilières et architecturales de l’entre-deux-guerres. Les contours donnés au style évoluent cependant considérablement au fil des années, si bien qu’il est possible de distinguer trois grandes vagues de discours.La première, centrée autour de la France et de l’Exposition internationale des Arts décoratifs et industriels modernes de 1925, traite surtout du mobilier. Elle oppose souvent Art Déco et Modernisme et voit dans le premier le signe d’une société décadente, incapable de penser le monde de l’époque et de répondre à ses défis. L’Art Déco est condamné comme un prolongement anachronique du principe décoratif. Toutefois certains auteurs voient au contraire en lui « un dernier instant de bonheur ».La deuxième vague, essentiellement anglophone et américaine (alors que la première était plutôt italienne et française), repose sur une logique tout à fait différente. Apparaissant elle aussi dans les années 1960, elle accorde davantage de place à l’architecture. Elle fait de l’Art Déco une modernité alternative, un autre moderne, et rejoint les théories postmodernes qui se développent à partir des années 1970.La troisième, enfin, plus tardive, puisqu’elle commence dans les années 1980, se situe dans le prolongement de la deuxième. Elle se fonde sur les notions de malléabilité et d’hybridité et considère l’Art Déco comme une grammaire commune susceptible d’être adaptée dans des contextes très différents les uns des autres. Reposant sur un mouvement patrimonial puissant, elle s’observe aussi bien au sujet de Miami Beach que de Bombay/Mumbai ou Napier (Nouvelle-Zélande). Dans le monde francophone, cependant, cette approche de l’Art Déco reste relativement marginale et entre parfois en concurrence avec la notion d’architecture coloniale, même si des publications récentes portant sur Casablanca se situent indéniablement dans cette perspectiveThe "Art Deco" label appeared in the middle of the nineteen sixties to designate furniture and architectures from the interwar period. The style's outlines evolved considerably over time, and it is thus possible to distinguish three different waves of description.The first one is centered around France and the 1925 Exposition internationale des Arts décoratifs et industriels modernes, and focuses mainly on furniture. It often presents Art Deco and Modernism as two opposites, and views the former as the sign of a decadent society, unable to understand the realities of the period and face its challenges. Art Deco is condemned by most authors as an anachronistic prolongation of the decorative principle, while some, on the contrary, see it as a last "moment of happiness".The second wave is essentially anglophone and American (whereas the first one was mostly French and Italian) It also appeared in the nineteen sixties, and gives preeminence to architecture rather than artefacts. Its foundation is completely different from the first wave since Art Deco is viewed as the "other modern" or an alternative modernity, a new definition very much influenced by the developing postmodern theories.Lastly, the third wave, which is more recent, appears to be a prolongation of the second one. It is a based on notions such as hybridity or malleability and views Art Deco as a grammar which can be easily adapted in very different contexts. Powered by a strong heritage movement, it concerns places such as Miami Beach, Bombay/Mumbai or Napier (New Zealand). In the French speaking world, however, this approach remains relatively rare, and concurrent notions such as that of colonial architecture are often preferred, even though recent publications about Casablanca constitute an exception
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Schramm, Solange Maria de Oliveira. "Arquitetura do Estado Nacional: o estilo Art DÃco e o edifÃcio da EstaÃÃo FerroviÃria Central do Brasil." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=15367.
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nÃo hÃEsta 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.
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Farias, Fernanda de Castro. "Cidade em expansão, arquitetura em transformação: o Art Déco na João Pessoa de 1932-1955." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/290.
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Previous issue date: 2011-09-26Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The main goal of this dissertation is to investigate the relation between the architectural production of Art Deco affiliation and João Pessoa urban network inception and expansion process in the years 1932-1955, based on the link between the architecture and city. This relation analysis is enhanced when it is understood that some innovations are only possible, and in some cases mandatory, if the place enables the building deployment. The research scope was delimited in seven areas considering the city occupied area until the beginning of 1950´s, developing seventeen setorial maps from the researched excerpts based on actual pictures from buildings under research, highlighting the reformed urban areas in the first half of the twentieth century. The Art Deco architectural manifestations are analyzed from the definition of six key criteria determining the architecture specifications and its relation with the city.
O objetivo desta dissertação é investigar, a partir do vínculo entre arquitetura e cidade, a relação da produção arquitetônica de filiação Art Déco com o processo de formação e expansão da malha urbana em João Pessoa entre os anos de 1932- 1955. A análise desta relação torna-se mais rica quando se entende que algumas inovações só são possíveis, ou até obrigatórias, em função do lugar em que o edifício é implantado. O universo de pesquisa foi delimitado, considerando-se a área ocupada na cidade até início dos anos 1950, subdividindo-o em sete áreas e realizando dezessete mapas setoriais dos trechos pesquisados com fotografias atuais das edificações em estudo, destacando-se as áreas que foram alvo das reformas urbanas na primeira metade do século XX. Analisa-se as formas de manifestações da arquitetura Art Déco, a partir da definição de seis critérios fundamentais que determinam as especificidades desta arquitetura e da relação da mesma com a cidade.
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Teixeira, Guilherme Araújo Cardoso. "Goiânia déco em animação: o amor entre formas geométricas e curvas ousadas." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7428.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work explore the development of an digital 2D animation that presents a graphic and aesthetic deco with its geometrical and angular shapes, connected mainly with the 30´s Art deco posters. Building a visual narrative, within a historical context using a Goiania Architectural project in 40´s, the work consists to create a feeling of the birth of the city. The historical center of the capital, where the Art deco lives, will be the main attraction.
Essa pesquisa foi desenvolvida com o objetivo de produzir uma animação 2D digital que trabalhe uma estética gráfica e visual déco com suas formas geométricas e angulares, ligadas principalmente aos cartazes e pôsteres Art déco da década de 1930. Construindo uma narrativa visual, no contexto histórico e arquitetônico Art déco de Goiânia dos anos 40, pretende-se reavivar a euforia ligada ao nascimento da cidade. Propõe-se como atração principal a arquitetura do centro histórico da capital, onde o Art déco se faz mais presente.
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Haurie, Béatrice. "Les monuments publics de Raymond Delamarre (1890-1986)." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00745740.
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Premier grand prix de sculpture en 1919, le parisien Raymond Delamarre se positionne dans le nouvel ordre plastique néo-classique du groupe des prix de Rome des années 20 (peintres Dupas, Roganeau, Billotey, Pougheon et Despujols, sculpteurs Foucault, Janniot, Martial et Vézien, graveur Decaris, architectes Carlu, Roux-Spitz et Azéma). Porté par nature au colossal, il se libère de l'académisme de l'école des Beaux-Arts et concilie sa spécificité de médailleur et d'artiste-décorateur avec celle de la monumentalité. Recevant ses commandes d'architectes souvent prix de Rome, il est avant tout un sculpteur élégant aimant les allégories. Ses œuvres complexes se situent entre tradition décorative, hyperréalisme et modernité classicisante. Il puise sa plasticité volumétrique et ses simplifications aux sources de l'art grec archaïque et ses modèles techniques et stylistiques à la toreutique romaine. Sensible aux maniéristes italiens, il se réfère aussi à l'art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l'Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l'expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d'une identité nationale de l'art et montre qu'elle peut donner naissance à des créations puissantes, rythmées et inventives.italiens, il se réfère aussi à l'art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l'Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l'expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d'une identité nationale de l'art et montre qu'elle peut donner naissance à des créations puissantes, rythmées et inventives.
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Correa-Calleja, Elka Margarita. "Nationalisme et modernisme à travers l'oeuvre de Mahmud Mukhtar (1891-1934)." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3118.
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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 européenThis 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
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Coulet, Florence. "Régulation transcriptionnelle du gène de la ENOS et des facteurs de transcription DEC1 et DEC2 par l'hypoxie dans la cellule endothéliale." Paris 6, 2004. http://www.theses.fr/2004PA066070.
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Ryu, Soonok. "Charles Masson, ses commanditaires et l’architecture domestique à Nancy pendant l’entre-deux-guerres." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0166/document.
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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-guerresCharles 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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Tzioumaki, Aikaterini. "Erik Satie : « sports et divertissements », une approche dramaturgique de l’imagination : interactions musicales et visuelles." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040095.
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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’imaginationThe 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
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Willson, Gregory Brian. "International Tourists' Experiences of the Heritage Buildings in Hawke's Bay, New Zealand." The University of Waikato, 2006. http://hdl.handle.net/10289/2227.
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There has been increased attention given in the tourism literature to experiential perspectives of tourism. This thesis addresses the lack of attention in previous experiential studies to the relationship between heritage buildings and tourism. Specifically, this thesis explores the influence of heritage buildings in shaping international tourists' experiences of a particular region of New Zealand: Hawke's Bay. This research sought insight into the specific attributes of heritage buildings that influenced the experiences of international tourists visiting the region, and examined the relative importance of heritage buildings for international tourism to Hawke's Bay, as perceived by international tourists visiting the region. In this way, results are assumed in the personal constructs of individual consumers (Beeho Prentice, 1997; Prentice, Witt Hamer, 1998; McIntosh Siggs, 2005). An increased understanding of the relationship between heritage buildings and tourism is essential in strengthening support for preservation, for product development and promotion. A mixed-methodology comprising of 50 semi-structured interviews, 66 photograph-supported interviews and 354 structured questionnaires was adopted. Hawke's Bay's heritage buildings were found to have an important influence on tourists' experiences of the region, visually and as part of the narratives of their reported experiences. Attributes of Hawke's Bay's heritage buildings that influenced tourists' experiences of the region included their architecture, exterior and interior design, colour, history and associated stories. Furthermore, the interviews elicited three key experiential themes that emerged from respondents' narratives of their experiences in Hawke's Bay. They are; 'visual appeal', 'personal reflections' and 'engaging experiences'. Specifically, it was found that a townscape is not a passive space. Heritage buildings render the townscape an experiential place filled with emotion, mindfulness, engagement, and imbued with personal meaning. Visitors in effect created their own experiences through their active interaction with the environment; rendering it relevant to a context they were personally interested in, or which held personal significance for them. Analysis of the questionnaires revealed that, as perceived by international tourists, heritage buildings are important to a region; a significant proportion of respondents indicated that they would theoretically be willing to pay some money to ensure the preservation of Hawke's Bay's heritage buildings. This thesis evidences the important relationship between heritage buildings and tourism, and future research is advocated to advance upon the conclusions made in this research.
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Reis, Márcio Vinicius. "O art déco na Obra Getuliana. Moderno antes do modernismo." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16102014-111348/.
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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\".
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Rocha, Daniella Medeiros Moreira. "A pioneira arquitetura dos hotéis art déco de Goiânia - décadas de 1930 e 1950." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3279.
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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.
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Hällsten, Svetlana. "Error decó." Thesis, Konstfack, Textil, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3627.
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Marseille, Gilles. "Urbanisme et architecture domestique de l’Entre-deux-guerres à Nancy et dans son agglomération." Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0366/document.
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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 représentationThis 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