El Flanco Débil Del Ícono La Destrucción De Hitos Arquitectónicos Y Su Posterior Reconstrucción

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El Flanco Débil Del Ícono La Destrucción De Hitos Arquitectónicos Y Su Posterior Reconstrucción Universidad ORT Uruguay Facultad de Arquitectura El flanco débil del ícono La destrucción de hitos arquitectónicos y su posterior reconstrucción. Entregado como requisito para la obtención del título de Arquitecto Delfina Iojes - 179858 Martina Lamorte - 167061 Tutora: Arq. Gabriela Quintana 2017 DECLARACIÓN DE AUTORÍA Nosotras, Delfina Iojes y Martina Lamorte, declaramos que el trabajo que se presenta en esa obra es de nuestra propia mano. Podemos asegurar que: - La obra fue producida en su totalidad mientras realizábamos la Memoria Fin de Carrera; - Cuando hemos consultado el trabajo publicado por otros, lo hemos atribuido con claridad; - Cuando hemos citado obras de otros, hemos indicado las fuentes. Con excepción de estas citas, la obra es enteramente nuestra; - En la obra, hemos acusado recibo de las ayudas recibidas; - Cuando la obra se basa en trabajo realizado conjuntamente con otros, hemos explicado claramente qué fue atribuido por otros, y qué fue atribuido por nosotros; - Ninguna parte de este trabajo ha sido publicada previamente a su entrega, excepto donde se han realizado las aclaraciones correspondientes. Delfina Iojes Martina Lamorte 179858 167061 2 ABSTRACT Esta tesis busca comprender cómo un edificio puede llegar a adquirir un valor tal para una comunidad -por la relación con su historia, cultura e identidad-, al punto de convertirse en un blanco de ataque perfecto para quienes buscan descomponer su estructura social. Como método de abordaje se entendió necesario comenzar por indagar sobre la definición de ícono desde su concepción más elemental hasta su aplicación en el campo de la arquitectura para luego establecer cuáles son aquellos factores que hacen que un edificio se convierta en un ícono o se instale como tal en un determinado contexto social, entendiendo la destrucción del mismo como la constatación de su carácter icónico. Posteriormente se presenta un estudio de tres casos entendidos como representativos de este tipo de acontecimientos: la Catedral de Cristo Salvador de Moscú, la Cúpula de Reichstag en Berlín, y las Torres Gemelas de Nueva York. Dentro de cada caso se analiza el contexto en que se enmarca la construcción del ícono, las cualidades que lo convierten en tal, los motivos de su ataque, y la respuesta arquitectónica adoptada ante dichos actos de violencia. 3 INDICE 1. Introducción 5 2. Las raíces del ícono: en busca del concepto general 9 3. Mensaje oculto: la simbología de las imágenes 12 4. El ícono en la arquitectura 17 4.1 Arquitectura como mensaje 17 4.2 Memoria colectiva: el rol del ícono en la sociedad 22 4.3 Hacia su definición 26 5. Estudio de caso: Catedral Cristo Salvador de Moscú-Palacio de los Soviets 28 5.1 Un ícono para la victoria 28 5.1.1 Implantación 30 5.1.2 Resolución formal 32 5.2 Expurgando el pasado 35 5.2.1 Implantación 43 5.2.2 Resolución formal 44 5.3 Un sueño incompleto: la resurrección 48 6. Estudio de caso: el edificio de Reichstag de Berlín 53 6.1 El poder del pueblo: construcción de un ícono 53 6.1.1 Implantación 55 6.1.2 Resolución formal 59 6.2 ¿Víctima o victimario? 68 6.3 Destrucción consciente para un renacer merecido 70 7. Estudio de caso: Torres Gemelas de Nueva York 82 7.1 El ícono dormido 82 7.1.1 Implantación 83 7.1.2 Resolución formal 87 7.2 El despertar: un acto destructivo que marca la historia del nuevo siglo 95 7.3 Desde cero: "recordar, reconstruir, renovar" 100 8. Conclusión 111 9. Bibliografía 114 4 1. Introducción Esta investigación se propone determinar las características que debe tener una obra arquitectónica para ser entendida como un ícono, y a su vez, cómo la cualidad de tal puede convertirla en un blanco de ataque, por lo atractiva que resulta frente a los ojos del enemigo con la voluntad de provocar un daño. El trabajo se estructura en dos partes principales: una aproximación al concepto de ícono desde el análisis de las distintas ideas teóricas vinculadas al mismo, que guiará el subsiguiente estudio de casos que permiten evidenciar el flanco débil de dicho ícono. Para definir el enfoque del estudio se recompilan varios conceptos tratados a lo largo de la historia en cuanto al potencial de una forma como portadora de un mensaje: de lo más elemental -que es la etimología del término ícono-, se pasa a la simbología de las imágenes en general, para luego trasladar la mirada hacia la imagen arquitectónica a través de los estudios sobre semiótica. Finalmente, se realiza una aproximación a estos elementos arquitectónicos desde las posturas de diversos teóricos de la arquitectura como Kevin Lynch, Aldo Rossi o Carlo Aymonino, quienes lo entienden en relación a la ciudad. A partir de esta indagación se conforma la definición de ícono que servirá para orientar el resto del trabajo. Seguidamente, se procede a presentar los diferentes casos de estudio, analizando -además de su capacidad icónica y su destrucción- las distintas formas de ver la ruina a la hora de la reconstrucción: como oportunidad para empezar de cero, como restauración para volver a lo original o como lugar conmemorativo del acto de violencia. Se tendrán en cuenta múltiples posturas teóricas en cuanto a la restauración arquitectónica, a saber, el Restauro Archeologico, la Restauration Stylistique representada por Viollet-le-Duc, el Anti- Restoration Movement de John Ruskin, el Restauro Storico encabezado por Luca Beltrami, el Restauro Moderno de Boito -perfeccionado en el Restauro Scientifico de Giovannoni- y el Restauro Crítico por Cesare Brandi, Roberto Pane y Renato Bonelli, así como los diversos principios y metodologías declarados en las Cartas del Restauro publicadas entre 1931 y 2000. Se entiende que al enmarcarse las reconstrucciones de los casos escogidos para esta investigación a fines del siglo XX y principios del siglo XXI, la actitud tomada se da con mayor libertad que en las épocas anteriores. Esto se traduce en un distanciamiento entre la teoría y la praxis, ya que la revalidación del carácter icónico del edificio resulta más importante que la recuperación del edificio como documento histórico. Sobre esta base es que se tendrán en cuenta los aportes de la Conservación Activa como línea de 5 pensamiento inherente a la contemporaneidad en cuanto acciones practicables sobre el patrimonio. La forma tan diversa en que se dan las situaciones de destrucción violenta de íconos hace que no sea posible identificar leyes universales aplicables a la reconstrucción de los mismos -cada monumento es distinto y cada sociedad es distinta-, por lo tanto las respuestas son tantas como casos de destrucción existen. En vista de ello, se entendió que la aproximación al estudio de este tipo de problemática debe realizarse a partir de casos particulares que sirvan de ejemplo de las posibles maneras de enfrentar la situación. Con la selección de estos casos se busca contar historias completas, incluyendo la construcción, destrucción y reconstrucción, manteniendo el interés del lector por las particularidades y detalles que hacen a cada historia. Las elecciones presentadas abarcan en sus tres etapas, períodos y circunstancias muy variadas, siendo posible aplicar el método de análisis a cualquier otro ejemplo más allá de su condición geográfica y temporal. Para cada caso particular, se procederá en primer lugar a establecer el contexto de la construcción de la obra, analizándola en profundidad de acuerdo a dos categorías entendidas como definitorias para su condición de ícono: la implantación y la resolución formal, es decir, su imagen -sin olvidar los significados que están por detrás de ella-. Se proseguirá con un estudio del contexto histórico, político, económico, social y cultural para poder comprender el escenario en que sucede el acto de destrucción y de acuerdo a eso, el alcance que esta tiene. Cabe aclarar que la destrucción para esta investigación es entendida particularmente como el acto violento intencional dirigido hacia una construcción arquitectónica, como medio para borrar el mensaje que esta buscaba comunicar. Finalmente, se analizará la postura que se adopta frente al hecho violento, haciendo hincapié en la respuesta arquitectónica -no solo enfocado en lo efectivamente construido, sino también en los distintos proyectos presentados para los concursos organizados- contextualizándola dentro del marco ideológico arquitectónico de la época. El interés de esta investigación radica en que pone en evidencia las dos caras del ícono: su lado fuerte y su lado débil. Por una parte, la iconicidad de la arquitectura está relacionada a esa característica de singularidad y unicidad que hacen de ella un punto de referencia, y un reflejo de los valores y la fortaleza de una sociedad. Por la otra parte, ese mismo rasgo lo vuelve automáticamente débil ante los ojos del enemigo. Si alguien quiere herir a esa sociedad, cualquiera sea la razón, encuentra en el ataque violento hacia esa 6 arquitectura el medio perfecto para hacer un daño material y emocional de fuertes repercusiones a nivel colectivo. El impacto emocional que genera la destrucción de un ícono arquitectónico está directamente relacionado con la memoria colectiva; la identidad de la sociedad se manifiesta a través de estos íconos porque tal como decía Rossi (1981), "tendremos que hablar de la idea que tenemos hecha de este edificio, de la memoria más general de este edificio en cuanto producto de la colectividad; y de la relación que tenemos con la colectividad a través de él." (p.71) Es una guerra contra la arquitectura, donde la destrucción de los artefactos culturales del enemigo es una herramienta para aterrorizar, dividir, erradicar e inclusive dominar. Según Robert Bevan, autor del libro La destrucción de la Memoria (2016), la destrucción de los edificios durante las guerras no es un daño colateral, por el contrario, los edificios en sí mismos son el principal blanco. Esto se debe a que el objetivo final es generar un impacto y descomponer la estructura de la sociedad atacada, borrando las huellas de su historia, cultura e identidad.
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