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De Tokio a Babilonia La Arquitectura Como Propaganda Maria Pilar Pinchart Saavedra, Arquitecto 2013

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De Tokio a Babilonia La Arquitectura Como Propaganda Maria Pilar Pinchart Saavedra, Arquitecto 2013 TESIS DOCTORAL RAS CA CIE LOS DE TOKIO A BABILONIA LA ARQUITECTURA COMO PROPAGANDA MARIA PILAR PINCHART SAAVEDRA, ARQUITECTO 2013 UNIVERSIDAD POLITÉCNICA DE MADRID ESCUELA TÉCNICA SupERIOR DE ARQUITECTURA DE MADRID A mis abuelos, mis padres i ÍNDICE INTRODUCCIÓN 1 CAPITULO 01. MITOLOGÍAS 11 CAPITULO 02. ESTADOS UNIDOS: EL COMERCIO COMO CULTURA 43 02.1 CASO: WOOLWORTH BUILDING 1913 43 CAPITULO 03. UNIÓN SOVIÉTICA: MOSCU 61 03.1 RUSIA REVOLUCIONARIA: EL GRADO CERO DE LA PROPAGANDA 61 03.1.1 LA CUESTION DEL RASCACIELOS 71 03.2 RASCACIELOS REVOLUCIONARIOS 75 03.2 CASO 1, LA VERSION DE TATLIN: MONUMENTO A LA TERCERA INTERNACIONAL 1919-20 75 03.2 CASO 2, LA VERSION DE El LISSITZKY: WOLKENBÜGEL 1923-1925 85 03.3 CASO 3. LA VERSION DE LEONIDOV: NARKOMTIAZHPROM, 1934 99 ii CAPÍTULO 04. GUERRA FRÍA 117 04.01: MOSCU, LA GRAN CONTRADICCIÓN: STALIN, EL RASCACIELOS Y EL REALISMO SOCIALISTA 127 04.1 CASO 1: EL PALACIO DE LOS SOVIETS, BORIS IOFAN 133 04.2 CASO2: LOS RASCACIELOS ESTALINISTAS DE MOSCÚ 147 04. 2 GUERRA FRIA: ESTADOS UNIDOS: MANHATTAN THE RISE & FALL OF THE AMERICAN HERO 157 04.2 CASO 1: PAN AM (GRAND CENTRAL BUILDING) 159 04.2 CASO 2: WORLD TRADE CENTER. UNA HISTORIA CICLICA DE LAS tORRES GEMELAS 183 04.3 GUERRA FRIA: ASIA 209 04.3 CASO 1. ESTADOS UNIDOS A TRAVÉS DE ASIA: IDENTIDAD NACIONALISTA TOKYO BAY PROJECT. 1960. KENZO TANGE. 209 04.3. CASO2: NOR-COREA Y EL RASCACIELOS COMUNISTA: LA CONTRADICCION VITAL, HOTEL RYUGYONG EN PYONG YANG 237 CAPÍTULO 05. LA PERVERSIÓN LENINISTA SE HACE REALIDAD: CHINA 263 05.1 CASO: CCTV, REM KOOLHAAS: el ciclo se cierra 265 CONCLUSIONES 305 apéndice EL SIGLO 329 índice analítico 335 OBRAS CITADAS 337 BIBLIOGRAFÍA iii iv INTRODUCCIÓN La publicidad no es el final de la filosofía, sino su finalidad1 1 Quessada, Dominique, La era del siervoseñor; La filosofía, la publicidad y el control de la opinión, 2006, Barcelona, Tus- quets Editores.Pág. 135 En adelante (Quessada 2006). 1 2 Presentación Anthony Burgess2, en su libro póstumo Fin de las noticias del mundo, construye a partir de una imagen publicada en prensa del entonces presidente de Estados Unidos Jimmy Carter junto a su esposa, comiendo hamburguesas en la Casa Blanca ante tres televisores que funcionan simultáneamente, una novela cuya estructura busca trasladar los modelos y hábitos de las pantallas a la literatura. Burgess ensambla en una misma historia, un relato fantástico sobre el fin del mundo por una catástrofe extraterrestre que amenaza la tierra, la cual, por supuesto, tiene como escenario los rascacielos de Nueva York (que sirve como excusa para una especie de autobiografía), una brevísima biografía de Sigmund Freud (construida como una teleserie) y el guión para un musical sobre la visita de Trotsky a Nueva York. Cada historia es independiente y unidas construyen un único relato sobre el fin de la historia tal como el hombre la ha conocido, a la vez que presentan una perspectiva sobre la historia del siglo XX alejada de la narración oficial. En el original redactado por Burgess las hojas no estaban numeradas y los relatos parecen escogidos y desarrollados arbitrariamente hasta el final del libro, cuando se ata la trenza de las tres historias en una única historia. Los tres televisores de Carter, señalaban la simultaneidad de las diferentes fuentes de información que construyen una narración dispersa, que es a su vez un total único. En las tres pantallas simultáneas los acontecimientos no son una suma de hechos sucesivos, sino que demuestran lo que Marshall McLuhan en su obra fundacional de 1964 Comprender los Medios de Comunicación, denomina como estructura de mosaico propia de la sociedad visual, oral y táctil, producto de la era eléctrica3. Carter necesitaba entonces tres televisores para lo que hoy ocurre con un único ordenador, dispositivo o teléfono subdivisible en el número de pantallas que el usuario requiera, y que para Burgess era un profundo cuestionamiento sobre el futuro funcionamiento de la novela en relación a los medios como la televisión.4 Lo único cercano a un título para la novela, encontrado entre los textos de Burgess para un manuscrito aparentemente sin pies ni cabeza era el de Un entretenimiento5. Su título definitivo Fin de las noticias del mundo se debe a que su recopilador para su publicación definitiva en 1978, decidiera nombrarla con la frase característica del cierre de la edición que emite cada hora la radio de la BBC “y este es el final de las noticias del mundo”6 2 Escritor británico autor de Poderes Terrenales y de la famosa La Naranja Mecánica, 3 (McLuhan 1964, edición de 1996). Óp. Cit. Pág. 17, 220, 221 y 237. “La forma en mosaico ha pasado a ser la forma pre- dominante en la asociación humana; dicha forma mosaica implica, no un punto de vista aislado, individual, sino una participación en el proceso.,Por este motivo la prensa es inseparable del proceso democrático”; “El mosaico es el modo de la imagen corporativa o colectiva y exige una profunda participación, la cual es mas comunal que individual y mas inclusiva que exclusiva”; “Las noticias en mosaico no son narración, ni punto de vista, ni explicación, ni comentario. Son una imagen corporativa en profundidad de la comu- nidad en acción que invita a una mayor participación en el proceso social”...”Los anuncios llevan al principio del ruid hasta la cumbre de la persuación. Se debe al profundo ataque al incosnciente, son concebidos como pildoras subliminales para el inconsciente con el fin de producir un trance himnótico”. 4 “Vi una fotografía del último presidente Carter y de su mujer en la Casa Blanca a hora avanzada de la noche comiendo hamburguesas y viendo la televisión. Fíjate bien: estaban viendo tres pantallas simultáneamente. Cuestión de tener algo que mirar mientras ponen anuncios, pues la publicidad de los programas nocturnos es la más idiota y la más frecuente. Pero...ésta debe ser la pauta del espectador futuro. Autentico contrapunto visual. ¿Es también esto el futuro posible de la novela? Meditar detenidamente, mon vieux. Prólogo a Burgess, Anthony, Fin de las Noticias del Mundo, Ediciones B, S.A., 1988, Barcelona, en adelante (Burgess 1988) 5 Treinta años después de la escritura de esta novela, y casi medio siglo después del visionario ensayo de Marshall McLu- han Comprender los medios de comunicación, nos encontramos ante una demanda por información nos convierte a todos en perio- distas, y a la multiplicación de información le llamamos interacción y nos divierte. La información es efectivamente, “Un entreten- imiento”, en inglés “Entertainment” que ha derivado en la década de 1990 al “info-tainment”, un concepto de telediario que tiene una función entretenedora, que tiende a desvirtuar la información, sustentado en la demanda por noticias que el propio acceso a la información produce, con lo que la información tiende a comportarse como la masa según la definición de Canetti, es decir una información (masa), cuyo único objetivo es crecer infinitamente. Ver Canetti, Elías Masa y Poder, 1960, Edición de 2010, Barcelona, De Bolsillo. En adelante (Canetti 1960, Edición de 2010). 6 N.T “This is the end of the world news” literalmente “Este es el final de las noticias del mundo” nombre original de la novela en inglés así como del título de la novela en su traducción castellana. También puede traducirse como “Aquí acaban las noti- cias del mundo” 3 Objetivo Del mismo modo que la novela de Burgess, esta tesis doctoral se cuestiona sobre el presente (y a partir del presente, el futuro) demostrando el poder comunicacional del edificio, acotado al rascacielos como tipo, y en su aspecto o condición propagandística. Hipótesis Se trabaja sobre la hipótesis de que, con el desarrollo del siglo XX y específicamente de las técnicas y medios de comunicación, el agente productor de la propaganda se ha vuelto indeterminado, convirtiendo la línea que separa la publicidad de la propaganda (i.e., mercado del Estado) en una línea indistinguible. Siguiendo la estructura de Burgess, esta tesis evita forzar un orden rígido, basado en la arbitrariedad del número. Por el contrario, en el texto se categorizan los momentos de la historia, en los cuales la construcción de rascacielos está cargada de los significantes políticos que dieron forma al siglo XX, independientemente del origen de la iniciativa. A la vez que plantea preguntas fundamentales para el momento en que nos encontramos acerca de ¿Quién es el gobierno? ¿Quién gobierna, la política, o el mercado? Y dentro de esto, ¿a qué responde la obra arquitectura? específicamente, un rascacielos. Si bien tradicionalmente hemos comprendido la propaganda como un fenómeno distinguible, asociado directamente a un emisor político identificable, con una temporalidad definida, esto ha cambiado. Pasando desde la historia escrita en piedra en forma de catedrales descrita por Víctor Hugo en su novela Nuestra Señora de París7, a monumentales edificios civiles en la Europa decimonónica del estado-nación, hasta convertirse en rascacielos comerciales con muro cortina, producto del poder del mercado sobre lo público, y lo político es decir aquello que determina el orden de la ciudad y los ciudadanos (en las diversas lecturas del orden, incluyendo su componente moral). El rascacielos viaja, es la tipología del futuro. El rascacielos siempre es futuro. El rascacielos es principalmente un mensaje optimista que presagia desarrollo, pero siempre necesita una presentación, una argumentación y una validación de índole social. El rascacielos no existe sin un discurso. El discurso lo convierte en emisor de una información compleja, su desarrollo es paralelo a a evolución de la comunicación en el siglo XX, y se enfrenta a la compleja comunicación actual, que ha experimentado en menos de una década un movimiento que, ni siquiera el padre del mass media Marshall McLuhan, podría haber previsto.
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