Art Deco

Le monde belge de l’architecture du paysage et de l’horticulture de la première moitié du XXe siècle a jusqu’à présent fait l’objet de peu d’investigations. Une série de lettres inédites (Archives de la construction moderne-EPFL Lausanne) de l’une de ses figures les plus emblématiques, Jules Buyssens, ouvre une porte sur ce secteur important de l’activité économique et artistique.

These two chapters provide an illuminating political and cultural history of the interior design of India’s presidential residence which was originally designed by Sir Edwin Lutyens to be the house for the British viceroy. They also provides a detailed catalogue of select artworks kept in the house. Rich illustrations reveal how the interiors stand now, and they are contrasted with archival photographs that show how the house has evolved over the past 90 years including previously unpublished plans and sketches for the décor of the interiors of the house some of which date back to as early as 1914—these provide a rare
glimpse into how it was originally intended.
While the architecture of the actual edifice of the Rashtrapati Bhavan may be Lutyens’s most enduring legacy, the interiors of the building preserve a much more versatile history. These chapters trace how Lutyens achieved a stylish interior that accommodated the tastes and needs of various British aristocratic residents, politicians and bureaucrats, but equally had to impress an Indian public—for which, it needed also to incorporate a vocabulary of Indian design ornament. After the independence of India, many symbols of the colonial empire were rendered inappropriate and the interiors of the Rashtrapati Bhavan had to be transformed into the home of the president of a democratic republic with a rich history. This glimpse into the tastes of its different residents and the compulsions that guided them traces a most telling history of a changing world.

Este documento inclui o resumo, o índice e a bibliografia da dissertação "René Lalique: o Artista, o Místico e o Empreendedor", apresentada no ISCTE-IUL em dezembro de 2018 para obtenção do grau de Mestre em Mercados da Arte. A dissertação completa está disponível em: https://repositorio.iscte-iul.pt/handle/10071/17130 This document includes the abstract, index and bibliography of the dissertation "René Lalique: the Artist, the Mystic and the Entrepreneur", presented at ISCTE-IUL on december 2018 to achieve the degree of Master in Art Markets. The complete dissertation is available at: https://repositorio.iscte-iul.pt/handle/10071/17130

El libro que aquí se presenta retoma para su análisis, los instrumentos de conocimiento histórico e historiográficos estudiados por Marina Waisman, enfocados hacia la arquitectura en Latinoamérica - aunado al estudio fotográfico de Paulina Lavista y Carolina Magaña - se demostra que el Art Deco para Ciudad de México fue el primer movimiento arquitectónico del siglo XX.
Se inicia con una revisión histórica del surgimiento del art déco en Europa, Estados Unidos y Latinoamérica, además de su inserción en México.
En el segundo capítulo se expone la periodificación histórica que contextualiza al art déco; Hacer esto, sin duda, permitirá establecer si el art déco fue un estilo, una forma, un modelo o un tipo arquitectónico en el contexto histórico de Ciudad de México en el siglo XX.
Una vez definidos estos límites, se explicarán las diferencias y similitudes estilísticas entre las corrientes arquitectónicas coetáneas al art déco: neocolonial, colonial californiano, neoindigenista y los inicios del movimiento moderno, pues todas ellas también trataban de cumplir con los programas y partidos arquitectónicos que demandaba la sociedad posrevolucionaria.
En el tercer capítulo se estudian los tipos de edificaciones. Se indaga sobre el significado de un tipo —de edificación—, lo cual requiere tener un código lingüístico determinado: las características de las fachadas, la volumetría, el espacio habitacional, los acabados interiores y la estructura constructiva a través de un extenso y completo estudio fotográfico. Para concluir este capítulo, se hace una descripción y observación espacial del tipo característico de los edificios habitacionales con tres casos de estudio: Picadilly, Ritz y Hamburgo.
En el siguiente capítulo se narra la historia urbana de Ciudad de México —de la cual las edificaciones art déco son parte esencial, con su propio código lingüístico y costumbres vinculados con un periodo histórico concreto— y las peculiaridades de los autores que participaron en su construcción. Se analizaron 11 colonias de la ciudad, contemporáneas entre sí, que se distinguen por tener los ejemplos más apegados a los rasgos propios del art déco. Las colonias fueron: Centro, Cuauhtémoc, Tabacalera, Santa María la Ribera, Doctores, Juárez, San Rafael, Condesa, Roma Norte, Roma Sur e Hipódromo.
En el quinto capítulo se habla de las duraciones históricas en México y se recuerdan edificios emblemáticos de Ciudad de México a través de sus remodelaciones como el cine Lido, hoy Centro Cultural Bella Época, y la antigua Estación de Bomberos y Policía, hoy Museo de Arte Popular.

This paper explores the visual culture of recreated temple structures in the entertainment settings of international exhibitions and Disneyland. It examines the material and conceptual construction of temple mythology in world's fairs and amusement parks through the reproduction -or rather, simulation -of Egyptian, Mayan, Aztec, Cambodian and Hindu structures. Disneyland in southern California has been interpreted as the hybrid descendent of the world's fairs and colonial expositions, the result of continuities and ruptures within the exhibitionary and entertainment traditions of the nineteenth and early twentieth centuries. Some of the architecture in the Adventureland section of the park can be likened to the pavilions of the colonies in French and British expositions, especially those from the late nineteenth century through to 1939. The creators of the Temple of the Forbidden Eye in Disneyland's Indiana Jones Adventure ride from 1995 have claimed they were directly inspired by images of temples published in National Geographic magazines of the 1930s. A skim through these attributed sources of information turns up period photographs from world's fair temple-pavilions.

İ.T.Ü. Fen Bilimleri Enstitüsü Mimarlık A.B.D. Mimarlık Tarihi Programı kapsamında, 2004 tarihli olarak hazırlanmış doktora tezidir. 20.yy modern mimarlığında az sayıda üretilen, kuram ve uygulama açısından avangard örnekleri dışında,  gerçek anlamda meydana getirilen imar stoğunun estetik dinamiklerini anlamaya ve formüle etmeye çalışan bir çalışmadır.

À travers la lecture du catalogue de l’exposition « La splendeur des Camondo », j’ai remarqué que les dernières fiches de signalisation du camp d’internement de Drancy (p.107, cat 238 - après 1942) portaient la mention d’une adresse de logement à Pau (14 boulevard des Pyrénées div. 2 E) Léon et Bertrand Reinach. Très intéressé par la vie des Camondo et m’apercevant en lisant divers ouvrages sur la saga familiale que les derniers des Camondo ont résidé à Pau - ville où j’enseigne la géographie à l’université en tant qu’ATER [à l’époque]- je me suis permis de faire un reportage photographique sur la dernière demeure des Camondo (lignée) au numéro 14 boulevard des Pyrénées. Entre mémoire, histoire, oubli et redécouverte, la mémoire des Camondo refait jour par petit bout. L’enquête de terrain donna lieu à un archivage de l’Institut Nissim de Camondo. -- Through reading the catalog of the exhibition "The splendor of the Camondo", I noticed that the last signs of the Drancy internment camp (p.107, cat 238 - after 1942) An address of accommodation in Pau (14 boulevard des Pyrénées div. 2 E) Léon and Bertrand Reinach. Very interested in the life of the Camondo and seeing me reading various books on the family saga that the last of the Camondo resided in Pau - ville where I teach geography at the university as ATER [at the time ] - I allowed myself to make a photographic report on the last home of the Camondo (lineage) at number 14 boulevard des Pyrénées. Between memory, history, oblivion and rediscovery, the memory of Camondo remakes day by bit. The field survey resulted in an archive of the Nissim Institute of Camondo.

Pastaraisiais metais stebimas didėjantis susidomėjimas Kauno tarpukario architektūra. Tam įtakos turi vykdoma nuosekli šio paveldo sklaida ir ypač jo tarptautinis pripažinimas – 2015 m. Kauno tarpukario modernizmo architektūrai suteiktas Europos paveldo ženklas. Tais pačiais metais Kaunas tapo pirmuoju Rytų ir Vidurio Europos miestu, gavusiu UNESCO dizaino miesto statusą. Jis yra įvertintas už išskirtines architektūros ir dizaino tradicijas, siekiančias tarpukarį, jų saugojimą bei puoselėjimą. Šie pokyčiai ir pripažinimas skatina iš naujo pažvelgti ir įvertinti šio paveldo reikšmę, o taip pat lemia ir kryptingą Kauno kaip art deco miesto komunikaciją. To pasekoje įtakingos užsienio žiniasklaidos puslapiuose Kaunas pristatytas kaip vienas iš miestų, geriausiai reprezentuojančių art deco stilių. Tačiau atidžiau panagrinėjus po 1990 m. išleistą Kauno architektūrą pristatančią literatūrą ir kitus informacijos šaltinius, kyla abejonė, kiek pagrįsti tokie vertinimai? Ar galime tituluoti Kauną art deco miestu tinkamai neįvertinę šio stiliaus indėlio į tarpukario Lietuvos architektūrą bei nesutardami dėl šio termino vartosenos? Šio darbo objektas – art deco stiliaus pėdsakai, sąvokos vartojimo pavyzdžiai architektūrologijoje bei paties stiliaus apraiškos tarpukario Kauno visuomeniniuose ir gyvenamuosiuose pastatuose. Siekiant įvertinti art deco sąvokos vartosenos galimybes Kauno tarpukario architektūros atžvilgiu, analizuoti esami sąvokos vartojimo pavyzdžiai Lietuvos architektūrologijoje. Pateiktos stiliaus kilmės ir raidos aplinkybes tarptautiniame ir Lietuvos kontekstuose, išskirti jį charakterizuojantys bruožai ir atlikta būdingiausių stiliaus pastatų natūrinė ir stilistinė analizė. Nustatyti egzistuojantys neatitikimai, lyginant juos su užsienio praktika ir pavyzdžiais. Prieita išvados, kad Kauno tarpukario architektūros kontekste sąvoka vartojama nevienareikšmiškai, nėra nusistovėjusi ir jos vartojimo tradicija. Konstatuojama, kad art deco stiliaus pėdsakų tarpukario Kauno architektūroje neabejotinai būta. Tačiau daugeliu atveju galima kalbėti ne apie grynuosius stiliaus pavyzdžius, bet apie jo bruožų turinčius pastatus ir jo įkvėptas formas arba dekoravimo būdą. Art deco pasireiškė kaip viena iš daugelio Kauno tarpukario architektūrą formavusių įtakų. Grynesniam stiliaus išsiskleidimui sąlygų nesudarė socialinės, ekonominės aplinkybės, mažas turtingųjų miesto gyventojų kiekis, menkas urbanizacijos lygis ir miesto kultūros tradicijų nebuvimas. Taip pat, pakankamai konservatyvus, iš dalies ir politinių aplinkybių įtakotas, meno vartotojų ir architektūros užsakovų skonis.

Este artigo pretende discutir a formação das artes e arquitetura no Brasil no início do século XX, quando da instalação das primeiras instituições universitárias formais. Para tanto, elege-se o engenheiro-arquiteto Jorge Félix de Sousa, formado em 1933 pela antiga Escola Nacional de Belas Artes, atual Universidade Federal do Rio de Janeiro. Com atuação profissional na recém-fundada cidade de Goiânia, Sousa participou de projetos e construção de vários edifícios, e é um dos responsável por levar ao interior influências arquitetônicas da época, em especial o art déco. Ao unir arte e técnica em seus projetos, concebendo teatros, relógios, pórticos e coretos, o engenheiro-arquiteto assume o protagonismo no desenho da nascente cidade, aliando a tradição desses equipamentos às novas técnicas de desenho e material. Em 2003, o patrimônio histórico brasileiro reconheceu formalmente a arquitetura art déco de Goiânia, expandindo o cânone artístico nacional para o início do século XX.

Catálogo de la arquitectura rifeña construida en el Marruecos Español por el interventor Emilio Blanco Izaga. En ella se mezclan los rasgos propios del Art Déco y de las arquitecturas propias del Atlas marroquí. Esta arquitectura representa una importante faceta de la actuación colonial española sobre el norte de Marruecos.

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HAL:

IMMEUBLE DE LÉON JAUSSELY, dit Hall de la Dépêche du Midi à Toulouse,  42 bis rue d’Alsace Lorraine, 15 rue Rivals, création 1926 – 1932.

IMMEUBLE DE BUREAUX / DE RÉGIE DE PRESSE
Immeuble commercial, avant Nature & Découverte, actuellement Orange télécom.

Un immeuble à la façade Art déco, revêtue de céramiques bleues.
L’édifice est construit entre 1926 (date du permis de construire) et 1932, par l’architecte Léon Jaussely.
- un plan en L
- un sous-sol,
- un rez-de-chaussée
- des étages
- deux porches
- des logements à l’origine,
- À l’origine de larges vitrines destinées à la présentation des publications de La Dépêche.

La façade sur la rue d’Alsace est entièrement ornée de mosaïques signées Alphonse Gentil et François Eugène Bourdet, produisant les décors de mosaïques pour des réalisations dans des stations thermales comme Vichy et Aix-les-Bains. On notera les deux plus belles réalisations des artistes avec les décors de la Société Générale à Paris en 1912 et pour l’exposition coloniale parisienne, les décors du Musée des Arts Africains et Océaniens en 1931.

Léon Jaussely (1875-1932), toulousain, est un spécialiste des plans d’extension et d’aménagement des grandes villes, il est appelé comme architecte pour réaliser la porte d’entrée de l’exposition régionale Toulouse-Barcelone. 

Grand prix de Rome en architecture à l'âge de 28 ans.
Consulté pour les plans du Grand Berlin, Ankara, l'extension de Paris, de nombreux plans d'aménagement et d'embellissement de villes Toulouse, Tarbes, Pau, Grenoble, Carcassonne, Vittel...

OFFICE / PRESS MANAGEMENT BUILDING Commercial building, before “Nature & Découverte”, currently Orange Telecom.

A building with an Art Deco facade, clad in blue ceramics.
The building was built between 1926 (date of the building permit) and 1932, by the architect Léon Jaussely.
- an L-shaped plan
- a basement,
- on the ground floor
- floors
- two porches
- original housing,
- At the origin of large display cases intended for the presentation of La Dépêche publications.
The facade on the rue d'Alsace is entirely decorated with mosaics by Alphonse Gentil and François Eugène Bourdet, producing mosaic decorations for works in spas such as Vichy and Aix-les-Bains. We will note the two most beautiful achievements of the artists with the decorations of the Société Générale in Paris in 1912 and for the Paris colonial exhibition, the decorations of the Museum of African and Oceanic Arts in 1931.
Léon Jaussely (1875-1932), from Toulouse, is a specialist in the extension and development plans of large cities, he is called as an architect to realize the front door of the Toulouse-Barcelona regional exhibition.
Grand Prix de Rome in architecture at the age of 28.
Consulted for plans for Greater Berlin, Ankara, the extension of Paris, numerous development and beautification plans for cities Toulouse, Tarbes, Pau, Grenoble, Carcassonne, Vittel ...

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El Palacio de Bellas Artes fue diseñado por el arquitecto italiano Adamo Boari, el cual diseñó un edificio con estilos mezclado de Art Nouveau y Art Decó. El edificio se construyó en 2 etapas, la primera etapa fue de 1904 al 1913 la cual fue interrumpida por los problemas que el país pasaba en esos momentos, inicio la Revolución Mexicana. En la segunda etapa la cual fue retomada en 1932 por el arquitecto Federico E. Mariscal modificando algunos detalles del diseño del proyecto de Adamo Boari para que se adaptará en eso momento a las necesidades culturales. El Palacio de Bellas Artes se levantó sobre una plataforma flotante con el fin de que no se hundiera, con una altura de 53 metros hasta el espiral, cuenta con 4 pisos y un estacionamiento. Para el diseño del Palacio de Bellas Artes se colocaron 27 columnas en las fachadas laterales, 23 de ellas fueron esculpidas y 2 para los 3 pórticos. Se esculpieron pegasos con sus alas desplegadas sobre una gran base que rodean el águila azteca y cuatros mujeres tomadas de la mando que dan detalle y enfatizando a la cúpula central, estas esculturas representan Drama, Drama Lírico, Comedia y Tragedia. En las puertas y ventanas se diseñaron elementos de flora y fauna de la cultura mexicana las cuales son: serpientes, hojas, tallos, palmas, entre otras, tuvo como principal objetivo darle un homenaje a la nuestra ciudad. Finamente no dejemos a un lado los materiales que se utilizaron para este proyecto fueron: el acero, concreto y mármol blanco esto fue para la fachada y para el interior fueron mármoles mexicanos en diversas tonalidades.

Hildreth Meiere was a significant artist whose works deserve more recognition that they have received.  This is especially evidenced in the Rockefeller Center Roundels, but also in many of her major commissions such as her work for St. Bart’s, the Kansas City Statehouse, One Wall Street, and many others.  There are many factors that have contributed to her being overlooked, including, her sex, her being more strongly connected to architecture than art circles.  Her religiousity and the more retrograde art works that she created on religious themes.  Finally her medium of choice—public wall art is difficult to exhibit, and also considered less “high art” than gallery oriented painting and sculpture.  Hopefully, the re-discovery that began with the recent Walls Speak exhibit will increase awareness of this important twentieth century artist and her iconic Art Deco masterpieces in our midst.

Resumen: A partir del análisis comparativo formal del vocabulario de dibujo Best Maugard con el del Art Déco que se realizó en México-en el campo de la arquitectura, ilustración gráfica, de objetos y joyería-se concluye que el abecedario propuesto fue una estrategia lingüístico-plástica pertinente frente a las necesidades sociales y estéticas de este momento histórico en México. Ambas gramáticas visuales convergieron para la representación de un arte nacional basado en elementos del arte prehispánico, dando como resultado un código lingüístico propio del arte mexicano y que, a su vez, fue aceptado internacionalmente como símbolo de modernidad. En la investigación se utilizaron el método histórico-deductivo para demostrar las tendencias nacionalistas/plásticas de la época, y un análisis visual por patronaje entre el Método Best Maugard y el Art Déco. Palabras clave: Método Best Maugard, Art Déco, arquitectura y diseño posrevolucionario, plástica posrevolucionaria. Abstract: From the formal comparative analysis of the Best Maugard vocabulary with Mexican Art Deco-architecture, graphic illustration, objects and jewelery-it is concluded that the proposed alphabet was a relevant linguistic-plastic strategy for the social and aesthetic needs of this historical moment in Mexico. Both visual grammars converged for the representation of a national art based on pre-Hispanic elements of art, resulting in a linguistic code typical of Mexican art, and which was internationally accepted as a symbol of modernity. In the research, the historical-deductive method was used to

As this paper will argue, struggling to define himself between the old and the new, Leon Bakst attempted to answer the same questions that are haunting the discourse of decorative arts today. Utterly representative of contradictory complexities of the early 20th century modernity, he had grown to fame at the turn of the century and was older than many of his peers. Bakst was formed in a classical academic tradition and was perceived as a “refined and curious collector of historical artifacts.”  However, he extended his practice far beyond the conventional framework and incorporated many concepts and movements, such as Symbolism and Fauvism; he acted as a prism of modernity, adapting historical findings to reflect contemporary moods in art and culture. Primarily interested in Bakst’s oscillation between ‘high’ and ‘low’ art, dissociation between his aesthetic desires and those of others, this research will focus on the collaboration between Bakst and the Ballets Russes. The main argument of this paper is that Bakst’s designs for Diaghilev’s productions were modern in a way they were attuned to the moods of a given period, in their re-appropriation and synthesis of the past, while not being conventionally and deliberately modern, but rather ambiguous, representative of Bakst’s own oscillations between high and low art and the dissociation between his intellectual system of beliefs and his artistic sensitivity. I have chosen the palette of the Ballets Russes, as they were, arguably, the most well-known works of Bakst that had great influence on the society at large. Moreover, conflating high and low art, the Ballets Russes raised many of the same questions that were to haunt decorative arts for decades to come. The first part of this essay will delineate Bakst’s role in the idea of total design, or Gesamtkunstwerk of the Ballets Russes, as well as his innovations in stage perspective and picture plane orientation. The second part will focus on coloristic decisions of the stage sets and particular oriental traits of the productions that paralleled the search for a national identity. The last part will address Bakst’s interest in movement and body in his costume designs.

Many aspects of the average Italian's life had changed drastically with the establishment of Mussolini's Fascist regime in 1922. One of the major changes to their lives was with regards to culture, both high culture as well as mass culture. Mussolini believed that if he could control the culture of his people, it would enhance his power over them therefore he strived to radicalize all forms of culture in the country. Mussolini paid a lot of attention to the aesthetics of his Italian society therefore many changes were made in the field of Italian visual arts, regarding both fine arts and architecture with the emergence of the Futurist movement and the rebirth of the classical movement, following the ideals of modernization and nationalism that the Fascists promoted. Many changes were also made in cinema, which was greatly influenced and censored by Fascist ideology. Finally, the effort of the Fascist regime to change Italian culture can also be seen through their work in building, establishing and organizing places, institutions and events for the promotion and production of culture.

Edition, annotation et présentation d'une source épistolaire : la correspondance de Fernand Léger à André Mare, et l'épouse de ce dernier, Charlotte (née Merlin). 50 lettres échangées entre 1906 et 1932, qui permettent d'aborder sous un jour nouveau à la fois la vie et l'oeuvre de deux amis d'enfance, originaires de la même ville de Normandie, avant de s'affirmer comme des figures majeures de l'avant-garde artistique de Paris du début du XXe siècle.

Quatrième de couverture :
Natifs d’Argentan (Orne), le peintre Fernand Léger (1881-1955) et le décorateur André Mare (1885-1932) partagent un même goût du dessin à l’adolescence et débutent ensemble, à Montparnasse, leur parcours artistique. Cette correspondance inédite apporte de précieux éclairages sur leurs œuvres graphiques et révèle l’enjeu d’une amitié stimulante quant à leur vocation d’artistes. Si leurs styles sont différents, Fernand Léger fait également œuvre de décorateur au fil de ses tapisseries, mosaïques, vitraux et céramiques et André Mare œuvre de peintre, de ses fameux Carnets de guerre à ses délicats portraits d’intimes et tableaux de paysages normands.
Charlotte Mare, née Merlin (1883-1964), est l’amie d’enfance d’André Mare qu’elle épouse en 1910 avec Fernand Léger comme garçon d’honneur. Aussi, cette correspondance dotée d’une iconographie rare est-elle largement enrichie d’extraits de lettres échangées entre André et Charlotte et des mémoires inédits de cette dernière qui fut cantatrice et professeure de chant.

Cette correspondance est préfacée par Michel Onfray, également natif d’Argentan. Elle est présentée et annotée par Tristan Rondeau, chercheur, diplômé de l’École des Hautes Études en Sciences Sociales. Elle est précédée de textes introductifs des historiens Laurence Graffin, Yves Chevrefils Desbiolles, Jean-Christophe Orticoni et Benoît Noël.

In the cinema of Dario Argento, the architecture frequently draws attention to itself and often cross-contaminates various eras and influences within a single film. However, in critical discussions of his 1977 film Suspiria, the interior styles deployed and their thematic and political relationship to the characters themselves have not been as arduously explored. This article will seek to argue that the architecture in Suspiria embodies a rhetoric in art criticism and the horror film that posits feminine styles as ornamental and somehow dangerous and deceptive, and the female body as unknowable and treacherous – ultimately perpetuating the idea that a woman’s sexual difference in all its manifestations is an unassailable threat to man and the progress of modernity. The first section will introduce the various theories and existing literature surrounding Argento, while the second engages with how the film uses ornament and the ‘pretty’ in relation to its female characters. The third section seeks to elucidate how the architectural recreation of maternal and anatomical imagery ties in with theories of ornament and modernity, while the fourth and final part will observe the role of waste in a building that is both decorative and antiquated in a modern context, where everything is measured by utility.

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When I began reading Pauline Clarke’s excellent children’s novels, such as her Carnegie Medal winner, The Twelve and the Genii (known in America as The Return of the Twelves), and her first book, The Pekinese Princess, and then looked up her works, I discovered that most of them had been illustrated by Cecil Leslie. WHO, I wondered, is Cecil Leslie? How is he connected with this fascinating author? How did they work together? What else did Cecil Leslie do in his life? What I have eventually discovered – so far! – is incomplete, but remarkable! Sadly, Cecil has been almost completely forgotten. This discussion hopes to stimulate interest in a remarkable artist and illustrator!

Few elements of the twentieth century built environment have historically stirred as much optimism, ire, or nostalgia as neon signs.  Despite a growing appreciation for its value by both municipalities and the general public, however, the fate of neon signage is far from secure.  Significant barriers exist to its conservation and continued in situ existence, with beloved signs continuing to disappear and others languishing in states of disrepair.  This project explores solutions to the question of how Portland, Oregon may better ensure that neon signs remain a vital part of its built environment.  It argues that neon signs provide multiple civic benefits and advocates for a targeted blend of regulatory tools, economic incentives, and public advocacy and outreach aimed at fostering a socio-economic environment more supportive of their conservation and continued presence.  This project first establishes a historic context that includes an overview of the history of neon signage and its relationship with public policy, followed by an outline of the many shining benefits these unique signs provide.  By evaluating the relevant state and national tools available for protecting these valuable resources as well as focusing on the protections for Portland neon, it reveals potential for improvement.  A curated survey of various strategies being employed around the country to protect neon signage identifies best practices, which are analyzed for their potential to be implemented effectively in Portland, culminating in a menu of recommendations for how city officials and neon advocates can best ensure a bright future for the city’s neon signs.  While research and recommendations are geared specifically to neon-rich Portland, the project’s insights are general enough that their relevance extends to other cities as well.

This essay discusses the important contribution given by Italian-born artists to the Art Déco movement in America. Their works, which are stylistically quite distinctive (many draw their inspiration from the Renaissance tradition), decorate important buildings such as the Rockefeller Center in New York, the Adler Planetarium in Chicago, the Liberty Memorial of Kansas City (Missouri) and the United States Court House and Post Office Building  in Philadelphia.

An article in the book "The Style of Madernieks". /  Edited by
Inese Baranovska, Rūta Rinka. Riga, Latvian National Museum of Art, 2021. ISBN 978-9934-538-35-3

(The exhibition “The Style of Madernieks’” at
the Decorative Arts and Design Museum in Riga
05.11.2020—30.05.2021.)

This paper discusses two private houses built by New Hebrides planter Jean Marot dit My, one on Santo Island, northern Vanuatu, and another in Nouméa, New Caledonia. The former is relatively well known in Vanuatu, as it is assumed to be the inspiration behind the octagonally shaped mansion of the character Emile de Becque, a French planter in James A. Michener’s Tales of the South Pacific. Mr My’s houses are linked to French Art Deco style and are here compared to one another. Through the study of their similarities and differences, and of their interiors, the integration of Art Deco style and design can be demonstrated. While they represent two very different ways of life, they show the inspiration, aspirations and trajectory of a colonial French family in southern Melanesia. Hopefully, this research will help promote the protection of both houses, through emphasising the importance of their historical and literary connections.

Art deco adalah gaya yang lahir setelah Perang Dunia I, yang termasuk pada seni terapan. Langgam ini menunjukkan suatu langgam yang dekoratif. Pada masa itu, gaya ini dianggap anggun, fungsional, dan ultra modern. Pengertian dari art deco sendiri adalah suatu aliran dalam membuat bangunan yang terdiri dari unsur-unsur dekoratif berupa garis-garis dan bidang geometri. Sesuai klasifikasinya, arsitektur langgam art deco dibedakan menjadi empat, yaitu floral deco, streamline deco, zigzag deco, dan neoclassicael deco. Di Indonesia,
banyak dikenal dua langgam yang pertama disebut, jarang didapati corak ketiga dan keempat.

(Tugas UAS Arsitektur Barat dan Asia)

Villa Isola merupakan bangunan dengan gaya arsitektur art deco. Bangunan ini merupakan salah satu bangunan yang megah pada zamannya, namun seiring dengan perubahan zaman dan peristiwa yang terjadi di sekitarnya, fungsi bangunan ini berubah-rubah.

MASSEL Christiane, MAURER Pierre et PIGNON-FELLER Christiane, Metz au temps de l’Art déco 1919-1939. Urbanisme & architecture, Vaux : Serge Domini Éditeur, 2016, 388 p. (ouvrage lauréat du prix spécial des conseillers généraux et départementaux de Lorraine 2017 et du prix d’histoire régional René Paquet 2017)

Les appellations Metz Royale et Metz Impériale, maîtres-mots du dossier que la Ville de Metz présente à l’UNESCO, caractérisent les périodes de développement majeurs de la ville – au XVIIIe siècle et plus tard pendant la première annexion, de 1871 à 1918 – qui ont vu se construire parmi les plus beaux fleurons de l’architecture messine. Il reste cependant qu’au lendemain de la Grande Guerre, avec le retour à la France, Metz va traverser une autre période de dévelop-pement urbain tout aussi importante qui durera deux décennies jusqu’à l’avènement de la seconde guerre mondiale.
Ainsi, de 1919 à 1939, la ville connaît un essor sans précédent manifestement négligé dans l’histoire urbaine de Metz. En 20 années seulement, Metz se placera au rang des villes modernes qui procurent à leurs habitants bien-être et beauté. Ces « vingt prometteuses », période féconde de création architecturale, ouvriront en quelque sorte la voie à la modernité des « Trente Glorieuses ».
Même si personne ne peut prétendre qualifier Metz de ville Art déco, il n’en demeure pas moins que la ville n’a pas échappé à ce mouvement qui s’empare de l’Europe. Rappelons que Metz faisait figure de précurseur puisqu’on y voyait déjà, avant 1914, une évolution des bâtiments vers une simplicité des lignes et un apurement de l’ornementation, une architecture débarrassée de ses fioritures qui avait commencé à transformer le paysage architectural en s’affranchissant d’un historicisme dépassé et d’un Art nouveau – ou Jugendstil – déjà moribonds.
Dans Metz au temps de l’Art déco / Urbanisme et architecture / 1919-1939 à paraître en novembre 2016 aux éditions Serge Domini, l’étude réalisée par Christiane Massel, Pierre Maurer et Christiane Pignon-Feller nous montre et nous révèle ce Metz méconnu qui verra s’élever des bâtiments où se conjuguent art et industrie, simplicité et élégance, pureté pour un meilleur usage, matériaux industriels et/ou précieux, dans la lignée des réalisations des plus grands architectes du moment, tels Henri Prost, les frères Perret, Jean Prouvé, Tony Garnier et Roger-Henri Expert, Le Corbusier, Robert Mallet-Stevens, etc.
Cette période riche et inventive fait le lien entre le Metz Impérial et la vague de mo-dernité discutable de l’immédiat après-guerre. Nous appellerons cela le « chaînon manquant » à mettre en lumière dans l’histoire urbaine de Metz. Il constitue pour la ville une richesse architecturale, et artistique, indiscutable par la variété et la typicité des immeubles dans l’espace public, l’ornementation des façades, la présence d’un art « moderne » dans la cité.

Review of Peter Sheridan's Sydney Art Deco, 2019, 432 pps.

A photographic survey of Sydney Art Deco as “the first global style movement” with a wide frame of reference from architecture to homewares. Sheridan describes it as a “style” rather than a methodology or a system of design problem-solving. This allows him to focus on his imagery and descriptions in the text rather than analysis.

An overview of the architectural public and private developments in Fouad Chehab's era in Lebanon (1958-1964), and the internal and external influences on these developments varying from political, religious, and economic.

The research was done in 2016, and it includes an architectural and political analysis of a variety of different types of projects that were done in Lebanon's golden age.

De Belgische industriële vloer-en wandtegel: een kleurrijk stukje geschiedenis Op het moment dat u dit artikel leest, is de expositie 'Gevloerd & Betegeld' over de Belgische tegelindustrie van art nouveau tot seventies reeds lang afgelopen. Een letterlijk en figuurlijk kleurrijke periode die helaas nog te weinig bekend is. Wie zich de moeite heeft getroost om in het Gentse MIAT een kijkje te gaan nemen, kreeg waar voor zijn geld. Zij die het gemist hebben, krijgen een herkansing! In het Musée de la Céramique in Adenne dit keer, waar vanaf 19 september (tot maart 2014) een vervolgexpo plaatsvindt. We vroegen Mario Baeck, internationaal gerenommeerd tegelexpert en curator van deze opmerkelijke tentoonstelling, om dit bijzondere stukje nationale geschiedenis nog eens te vertellen.

This paper focuses on significant architecture events and Ideologies from the Mexican Revolution in 1910-20 to student movement in1968 when Mexican architects start to be part of the contemporary architecture of the world and ameliorate their position among developing countries. During this period of time, Mexican architects started to experience new styles such as functionalist and rationalist architecture and improve it and little by little they began to use their background and national identity in their projects. All of this experiences helped them to create a Mexican style which we can observe in Louis Barragan and Ricardo Legorreta's works, an architecture which uses simple elements in a dialogue with colors and lights.

Overvloedig geïllustreerde tentoonstellings- en bezitscatalogus van het Belgische art-nouveau- en art-decozilver van het Zilvermuseum Sterckshof, nu DIVA. Bevat naast catalogus ook introductietekst Zilverdesign ‘Made in Belgium’ 1885–1945, merkenrepertorium en biografisch repertorium ontwerpers en producenten.

El Art déco en España ha sido estudiado preferentemente desde la perspectiva del arte y las artes decorativas. De ello se deduce que fue un estilo dirigido a una élite social. Pero desde finales de los años veinte, a través de diversos medios (la radio, las exposiciones, los deportes, las revistas) entró en contacto con el gran público entrando a formar parte de la cultura de masas.