TESIS DOCTORAL Los imaginarios urbanos y arquitectónicos en el ...
The urban and architectural imaginaries propose a look at the problems that nest in architecture, the city and culture that can be an alternative to the constructions of knowledge coined by the discipline itself. They thus function as a kind of counter-history, as an instrument to destabilize certai...
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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_7660 https://repositoriouba.sisbi.uba.ar/gsdl/collect/aaqtesis/index/assoc/HWA_7660.dir/7660.PDF |
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| Sumario: | The urban and architectural imaginaries propose a look at the problems that nest in architecture, the city and culture that can be an alternative to the constructions of knowledge coined by the discipline itself. They thus function as a kind of counter-history, as an instrument to destabilize certain conventions institutionalized by certain already legitimized bodies of knowledge. They constitute a cut, a re-presentation, intentional, that enhances and fertilizes the specific knowledge of the autonomy of architecture as well as of the project.
This work addresses the problem of imaginaries from a theoretical-critical perspective, taking into account the affirmative meaning as well as the negative meaning or denunciation that all the works have. The possibility of questioning and dissecting what the history of architecture itself has institutionalized while giving an account of the possibilities that the imaginaries have to influence the formulations of the project, I understand this as a form of cultural production.
The thesis work addressed the analysis of more than one hundred films of Argentine cinema in the period from 1933 to 1973, as part of a record that would account for the deployments of Modernity in the area of the city of Buenos Aires. A vision of local Modernity through the intersections between cinema and architecture. In this regard, this work has not been developed from cinematographic knowledge or film theory and criticism, but has been proposed from architectural knowledge in a non-architectural medium about an architectural material.
For this, three time cuts were made that in some way marked this deployment of the Modern in the local environment -1933/1945, 1945/1955 and 1955/1973- but which nevertheless are not enough to explain or substantiate said deployment of the Modern. The temporal location does not necessarily explain the characteristics of the analyzed phenomenon. For this, it was complemented with the analysis based on five theoretical-critical categories where the architectural, the urban, the cinematographic and the socio-cultural that could have made our Modernity intersect. Such categories are: The city as a place of virtue and harmony, the dialectics between central city and periphery, the dialectics between natural landscape and artificial landscape, the city as a scene of conflict, and the city as a place of mystery, threat, crime and death. |
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