Tesis DocToral Patrimonio arquitectónico y afectos. El Art Nouveau, ...
Traditionally, the patrimonialization process for architectural work has been directly linked to the value that history and legislation has given said work. As a necessary complement, this paper focalizes in considering the cognitive posibilities that affections have on determining the knowledge, va...
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| Formato: | Tesis doctoral acceptedVersion |
| Lenguaje: | Español |
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Universidad de Buenos Aires. Facultad de Arquitectura, Diseño y Urbanismo
2023
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| Acceso en línea: | http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=aaqtesis&cl=CL1&d=HWA_7555 https://repositoriouba.sisbi.uba.ar/gsdl/collect/aaqtesis/index/assoc/HWA_7555.dir/7555.PDF |
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| Sumario: | Traditionally, the patrimonialization process for architectural work has been directly linked to the value that history and legislation has given said work. As a necessary complement, this paper focalizes in considering the cognitive posibilities that affections have on determining the knowledge, value, and enforcement of a patrimony.\nNowadays, to fully understand the process, it is essential to bear in mind the role that society has in it through the affections each work brings out in people, which manifest appearing in papers, blogs, small city webpages, etc. which have been proclaiming in defense of building heritage.\nThe object of study in this paper can be defined as the phenomenon of patrimonialization in affective coding, considered through academic opening and transdisciplinarity that comes from philosophical elaborations and re-elaborations that appeared in postmodernity. In relation to this, the paper starts with a detailed revision of traditionally involved concepts when studying this -patrimony, culture, identity, memories, history- all under the recent postmetaphysics values.\nAs a postmodern response to the exclusively rationalist arguments, next we will be paying special attention to the appearance of different turns, directed to the affirmation of otherness and difference. This paper will focus specifically on the appearance of the so-called affective turn, which questions the supremacy of meanings and allows to open relationship and encounter zones that were not explored before, which then merge the material (concrete building) with the non material (memory, affections, history).\nTo all that we can also add the Bakthinian concept of chronotope, which can be explained as the specific relationship between time and space, significance and affection, and the later cultural re-elaborations on the meaning of chronotopies - theoretical ad hoc constructions arisen from the elaboration of axioms characteristic from the Buenos Aires Art Nouveau, classified as encounters and disagreements (considering joy and sadness as bases for spinozian affections). From these, chronotope anchors are born, defined as concrete elements from reality that need the receptor?s eyes to build an affective relationship that connects the work and the individual images for data collection found in digital publications can be classified as such.\nThe study concludes showing an affective mapping based on three concepts: Play, Symbolism, and Party, which reflect the current imagery that the comunity feels towards the Art Nouveau architecture of Buenos Aires. \nIn summary, this work proves that through a chronotope that draws attention to a specific group of people in a specific place (tope) and merging the past (chrono) with a dissimilar here and now, it is possible to design adequate chronotopes with their corresponding chronotopic anchors. These data allows to visualize the approach of individuals to knowledge and value of certain works, reinforcing the affectionals relationship between piece and participatory viewer, which turns into a determinant factor for its eventual patrimonialization. |
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