Art Deco

20. Yüzyıl dünyada her alanda gelişim ve değişimin olduğu bir çağdır. Sanayileşme ve teknolojinin gelişmesi ile
yeni malzemeler ve yeni üretim teknikleri ortaya çıkmıştır. Tasarımcılar gelişen teknolojiyle birlikte eskimiş ve
sıradanlaşmış durumda olan akımları terk etmişlerdir. Mimari tasarım, mobilya tasarımı ve sanat alanlarında
birçok yeni akım ortaya çıkmıştır. Bu dönemde mimari üsluplarla birlikte gelişen mobilya tasarım üslupları
İkinci Dünya Savaşı Öncesi ve İkinci Dünya Savaşı Sonrası dönemler olmak üzere iki ana başlık altında
incelenmektedir. Çalışmanın amacı, yeterli Türkçe yazılı kaynak bulunmayan 20. yüzyıl mobilya akımları
hakkında bilgiler sunmak ve 20.yüzyılın tasarım akımlarını özetleyerek araştırmacılara bir başvuru kaynağı
oluşturmaktır. Çalışma derleme makale niteliğinde, nitel araştırma yöntemlerinden biri olan gözlem metodu alt
başlığında literatür taraması yöntemi kullanılarak yapılmıştır. Çalışmanın sonucunda 20. yüzyıl mobilya tasarımı
akımlarının tablo halinde önemli özelliklerine değinilmiş ve karşılaştırılmalar yapılmıştır.
Anahtar Kelimeler: Modernizm, Postmodernizm, Minimalizm, Bauhaus, Art Deco.

This article sets out to do a case study of the Condomínio Cícero Prado, a complex of buildings by architect Gregori Warchavchik, built in 1954 in São Paulo, and has the final goal of performing an analysis of its lettering, as a formal element of information and identity in the built architecture.

In the late 1920s and during the 1930s, Austrian painter and graphic designer Hanns Wagula (1894 – 1964) worked for several companies in Yugoslavia (Putnik, Dubrovačka parobrodska plovidba, Jugoslavenski Lloyd, Aeroput Jugoslavija, and others) and played an important role in the development of travel poster in the Kingdom of SHS / Yugoslavia. In the period between the two World Wars, tourism became one of the most profitable branches of economy in the Kingdom of SHS / Yugoslavia, with Zagrebački zbor (Zagreb Trade Fair) and the “society for passenger and tourist transfer” Putnik as its two promoteres. Hanns Wagula was engaged in 1928 by the Split subsidiary of Putnik, which commissioned several posters and other promotion materials (brochures, tourist guides) as well as a visual identity for the illustrated magazine Jugoslavija: jugoslovenski turizam (Yugoslavia: Yugoslav tourism). Wagula’s posters and brochures were intended for promoting various segments of Yugoslav tourism: events (carnival in Split), steamship and airplane transfer, holidays at the Adriatic, and important tourist destinations (Šibenik, Split, Dubrovnik, and so on) and may be counted among the artist’s most significant projects during the interwar period. His work was very positively reviewed in some of the leading professional journals of the time (such as Gebrauchsgraphik) and Yugoslav artists saw it as a model of successful advertising in tourism. Wagula was known for his modern design with intense colours, impressive compositions, and a minimalist visual vocabulary, and his choice of framing and scenes placed an emphasis on the experience of the potential tourist, who thus became a crucial element in the communicated message. Besides posters and brochures, Wagula designed various front and back covers for the journal Jugoslavija: jugoslovenski turizam (1929 – 1939). In the magazine Wagula also published photographs that he had made during his travels through Dalmatia and Bosnia and Herzegovina, which varied from distinguished reportage photos to shots of tourist highlights (Peristyle in Split, Dubrovnik’s city walls, etc.), in which he used similar visual formulas as in his graphic design. This article uses archival documentation, periodicals, and Wagula’s designs in order to reconstruct his activity in Croatia and to analyse various segments of his oeuvre intended to promote tourism at the Adriatic Sea. Particular attention is paid to the general development of tourist promotion in the Kingdom of SHS / Yugoslavia during the interwar period, including the contributions of graphic designers Sergije Glumac and Pavao Gavranić, members of Atelier Tri, and the Slovenian artist Janez Trpin, who designed ground-breaking travel posters for particular regions (Gavranić), luxurious Mediterranean steam-ship cruises (Atelier Tri), and accommodation facilities (Glumac, Trpin). Modern designs that Hanns Wagula and these local designers produced in the period between the late 1920s and the early 1940s communicated the message clearly and created an image of interwar Yugoslavia as an attractive tourist destination that offered leisure, relaxation, and various forms of entertainment to its bourgeois guests, and welcomed them to enjoy its natural beauties and its rich cultural heritage.

The aim of this paper is to present the participation of Russian artists in the emergence and development of the Art Deco style in Serbian architecture, the style that marked the period between two world wars. In emanations of this style in Serbia, Russian architects and sculptors were of great importance, though their role was not discussed in historiography as a separate phenomenon. The decorative attitude made this essentially modern style more accessible to the refined artistic taste of Serbian social elite, which made Art Deco part of the image of its representative identity. In this period, Belgrade engaged architects arriving from Russia, who followed the local artistic demands, oriented toward decorative but also modern architectural form, and produced significant artistic oeuvre. Art Deco in Serbia was based on the modernization of constructions and building forms, nevertheless focused on façade decoration, enriched with ornaments, stylized reliefs, sculptures and fine-detailed ironwork. Architect and sculptor Roman Verhovskoj interpolated elements of the Art Deco style in an expressive and powerful way. Vladimir Zagorodnjuk decorated many public and apartment buildings with reliefs. Viktor Lukomski as the architect of the Yugoslav government designed the Palace of the Patriarchate of the Serbian Orthodox Church, and the State Hotel on Avala mountain. Architects Aleksander Medvedev, Valerij Stashevski, Andrej Papkov and Grigorij Samojlov embraced the style of softened, rhythmical, ornamentally enriched architecture, and developed a specific line of ornamental Art Deco. Creating the elaborate Art Deco interior of Cinema Belgrade, the most elite movie theater in Yugoslav capital, architect Grigorij Samojlov brought the spirit of Hollywood to Belgrade. The interwar development of the city and the quadruple increase in population were followed by the creation of its architectural identity, decisively marked by the modernity of Art Deco, following global trends that put it close to Paris, New York, Madrid, Casablanca, Havana, and Mumbai. In the oeuvre of Russian architects who worked in Serbia between two world wars, we notice a large variety of typical Art Deco motifs. Either contemporary or originating from classical, national, religious or mythological art, they are always transformed in accordance with contemporary modern spirit without direct application of topical templates. Already present in the early, initial phase of the style (1920-1927), related to Exposition Internationale des Arts Décoratifs et Industriels Modernes, held in Paris in 1925, Russian architects and sculptors strongly reflected the new style in the mature stage of its development (1928-1934), adopting both ornamental and sculptural forms of Art Deco. In the 1930s, their involvement in public and private architecture alike intertwined with the activities of local builders, with whom they equally participated in winning markets and personal self-fulfillment. In the late stages of Art Deco style, which in Serbian architecture developed in the period of 1935-1941, the Russian builders expressed the “joie de vivre” spirit characteristic of Art Deco, which became the most explicit form of the positive, creative global connectivity bringing to life some highlights of Serbian architecture.

"Applied ship motifs are an ongoing phenomenon of modern architecture since the 1920s. Referring mainly to Gert Kähler’s semiotic study on the ”Dampfermotiv”,
this paper analyses for the first time comprehensively the meaning of ship motifs in the Cypriot Moderne. Whereas most buildings display ship motifs just in a futuristic or decorative manner, a few connote the passenger steamer, evoking two specific metaphors: ”community” and ”rescue/healing”."

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.

Resumo: O estilo Art Déco foi fortemente utilizado no Brasil entre os anos 1930 e 1950, e ganhou, nas últimas décadas, um olhar mais atento no que diz respeito a estudos e pesquisas no âmbito acadêmico, tanto no que diz respeito ao seu papel na história da arquitetura brasileira, quanto em questões preservacionistas. No entanto, em algumas regiões do país, dada a sua formação mais recente, há uma lacuna de referências técnicas que, associada ao quadro de desvalorização do estilo, resulta em dificuldades relacionadas à preservação desses edifícios históricos, uma vez que o seu reconhecimento como patrimônio não é comum. Esta é a realidade de muitos municípios no norte do estado do Rio Grande do Sul, onde há número considerável de exemplares da arquitetura Art Déco. No entanto, devido à falta de conhecimento da população quanto ao valor destas edificações, estas têm sido alvo frequente de demolições e uso inadequado. Diante desta perspectiva, este trabalho pretende analisar edificações Art Déco através de levantamento físico e patológico, a fim de demostrar as principais patologias que estas edificações apresentam, bem como suas principais modificações ao longo dos anos. Para tal, foi escolhida a cidade de Carazinho como caso para estudo, debate e aprofundamento do tema. A escolha se fundamenta no interesse da população em tombar parte desses imóveis e no material produzido na disciplina de projeto de restauro do sexto período do curso de Arquitetura da Faculdade Meridional-IMED, com o estudo patológico de uma das principais edificações da Av. Flores da Cunha, que gerou base de dados para propostas de reabilitação para essa edificação histórica. Este levantamento do estado das edificações e do mapeamento patológico será de extrema importância para posterior intervenção, valorização e preservação deste patrimônio. Vale ressaltar que a maioria dos usuários reconhece a importância histórica, mas não entende como esses edifícios poderiam ser preservados, o que alerta quanto a importância da educação patrimonial para a preservação dos edifícios Art Déco. Além disso, através do levantamento das fachadas, comparação com fotos antigas e entrevistas a usuários, foi observado que a poluição visual causada pelos anúncios nas fachadas dificulta a leitura dos edifícios e interfere na sua percepção por parte dos usuários.

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.

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.

This article focuses on the works of art offered by Irish, Spanish, Brazilian and other governments and institutions to embellish the Centre William Rappard since 1926 to date. The Centre William Rappard is the first building in Geneva designed to house an international organization. It was built for the International Labour Office, and later occupied by the United Nations High Commissioner for the Refugees, the General Agreement on Tariffs and Trade secretariat, and currently the World Trade Organization. The article studies the messages sent by powerful players of international relations who donate, receive, restore and sometimes suppress works of art to support their political aims.

Art Deco emerged from the change of thinking ways of a group of people who one of them backed from the establishment of the economy. In Surakarta, there are areas that get influence Art Deco style, among others: Baluwarti, Laweyan, and Kauman. The problem is the absorption and adaptation of elements of Javanese culture and other culture that produce different art deco typology in each object of study. This study aims to compare the absorption and adaptation of elements of Javanese culture and other culture that produces different art deco typologies in three different areas in Surakarta.With different backgrounds, the absorption and adaptation of Art Deco style in residential houses in each region is different. But the common thread is the absorption of several styles, namely: Java, Art Deco, Art Nouveau, Middle East, and China which finally created the eclectic Art Deco style.

Art deco.
A decorative style with an eclectic character.
The art deco style reached its zenith in the interwar period, and was highly popular among all social classes, which was a unique achievement at the time. In stylistic terms this decorative approach is difficult to define. Historical styles, local influences and modernism are only a small selection from the repertoire of elements that were recovered and adapted by art deco. There was one consistent feature: it was a fashionable style totally in sync with the society of the interwar period, and that was not without reason. For the first time the industry was aware of the economic potential of a decorative style that appealed to a broad audience. To reach the growing middle class, the most important segment of modern society, recycling old styles with a modern facelift appeared to be the best formula. It is no accident that the name was derived from the Exposition internationale des Arts décoratifs et industriels Modernes held in Paris in 1925. The purpose of that event was to launch a new French style that would embrace the latest mechanical manufacturing techniques. In doing this France looked to Germany, where the decorative arts were functioning as an expression of national standing and economic success even before the First World War. Initially Belgium was reluctant to follow in these footsteps. It was only after its participation in the exhibition in 1925 that the modern principles of art deco took hold and art education underwent far-reaching reforms to breathe new life into applied art.

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.

Available at: https://www.ingentaconnect.com/content/intellect/host/2019/00000010/00000001/art00006

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

Revisión de los cambios en el quehacer constructivo en el México moderno de las primeras tres décadas del siglo XX. Oscilaciones del gusto, experimentación formal y  el laboratorio de nuevos materiales para la creación-invención del lenguaje de la arquitectura moderna.

In 1928, creation date of the “Fogueres de Sant Joan” (Bonfires of Saint John, Alicante, Spain), the festivity got linked the international Art Déco. This trend brought modernity to the new celebration. However, the “Fogueres” continued giving honors to the traditions of the city in order to not to lose the identity of a town opened to tourism. This paper seeks to provide this encounter between tradition and modernity through graphic illustration in Alicante, the artistic typology which received a boost with the emergence of the “Fogueres”.

This article discusses the process for the making of a matrix for identifying samples of Art Déco architectural lettering. The matrix was created from the analysis and reunion of recurrent characteristics observed in typographic samples from printed materials of several kinds, and also from Art Déco architectural details, originated between 1920 and 1950. Its purpose was to provide qualitative subsidies for the final selection of samples to be included in a research on Art Déco architectural lettering in the city of São Paulo, in development in FAUUSP postgraduate program.

Este artigo aborda o processo para elaboração de uma matriz de características formais para a identificação de exemplares de tipografia arquitetônica de estilo Art Déco. A matriz foi elaborada a partir da análise e reunião, das características mais recorrentes observadas em exemplares tipográficos, utilizados em impressos de diferentes naturezas, e também em elementos arquitetônicos de estilo Art Déco, produzidos no período entre 1920 e 1950. Sua finalidade, foi a de proporcionar subsídios qualitativos para a seleção final de amostras, a serem utilizadas em pesquisa sobre tipografia arquitetônica Art Déco na cidade de São Paulo, em desenvolvimento no programa de pós-graduação da FAUUSP. Palavras Chave: art déco; tipografia arquitetônica; letreiramento; arquitetura paulistana

El presente artículo aborda la prácticamente desconocida labor de Eduardo Santonja -Madrid, 1900-1966, en el ámbito de la ilustración déco madrileña de los años veinte y treinta, destacando sus principales aportaciones en el campo de las revistas ilustradas y del cartelismo. Asimismo, se analizan sus influencias y características generales, ofreciéndose un primer acercamiento a su formación artística y al desarrollo de su obra en los años previos a la guerra civil.

La salida del mundo de una guerra que transformó la sociedad, la economía y el arte, hizo que los artistas del anterior periodo y los más vanguardistas buscasen un nuevo estilo que fuese representativo de una nueva sociedad, procurando democratizar los diseños, dejando de lado la decoración en favor de la función del objeto.

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.