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Rosado, Carlos Manuel Cunha, 1968- Devir-Crítica E Clínica Em Arquitectura Universidades Lusíada Rosado, Carlos Manuel Cunha, 1968- Devir-crítica e clínica em arquitectura http://hdl.handle.net/11067/996 Metadados Data de Publicação 2014-07-21 Resumo A presente investigação tem como objectivo estudar o conhecimento do individuo na composição do pensamento arquitectónico pela apreciação intelectual crítica como um devir [pensar, questionar, entender e experimentar]. Para isso, é usado como impulso, metodologias próprias da filosofia e crítica cinematográfica no juízo da procura e na construção de questões e elaboração de respostas. Se por um lado pretendemos estudar o conhecimento pela idealização prosaica, sendo um entendimento do seu própri... Palavras Chave Arquitectura - - Filosofia, Serpentine Gallery Pavilion (Londres, Inglaterra), Kant, Immanuel, 1724-1804 - Crítica e interpretação, Duchamp, Marcel, 1887-1968 - Crítica e interpretação Tipo masterThesis Revisão de Pares Não Coleções [ULL-FAA] Dissertações Esta página foi gerada automaticamente em 2021-10-10T21:25:39Z com informação proveniente do Repositório http://repositorio.ulusiada.pt UNIVERSIDADE LUSÍADA DE LISBOA Faculdade de Arquitectura e Artes Mestrado integrado em Arquitectura Devir-crítica e clínica em arquitectura Realizado por: Carlos Manuel Cunha Rosado Orientado por: Prof. Doutor Arqt. Mário João Alves Chaves Constituição do Júri: Presidente: Prof. Doutor Arqt. Joaquim José Ferrão de Oliveira Braizinha Orientador: Prof. Doutor Arqt. Mário João Alves Chaves Arguente: Prof. Doutor Arqt. Rui Manuel Reis Alves Dissertação aprovada em: 16 de Julho de 2014 Lisboa 2014 U NIVERSIDADE L U S Í A D A D E L ISBOA Faculdade de Arquite c tura e Artes Mestrado Integrado em Arquitectura Devir-crítica e clínica em arquitectura Carlos Manuel Cunha Rosado Lisboa Abril 2014 U NIVERSIDADE L U S Í A D A D E L ISBOA Faculdade de Arquite c tura e Artes Mestrado Integrado em Arquitectura Devir-crítica e clínica em arquitectura Carlos Manuel Cunha Rosado Lisboa Abril 2014 Carlos Manuel Cunha Rosado Devir-crítica e clínica em arquitectura Dissertação apresentada à Faculdade de Arquitectura e Artes da Universidade Lusíada de Lisboa para a obtenção do grau de Mestre em Arquitectura. Orientador: Prof. Doutor Arqt. Mário João Alves Chaves Lisboa Abril 2014 Ficha Técnica Autor Carlos Manuel Cunha Rosado Orientador Prof. Doutor Arqt. Mário João Alves Chaves Título Devir-crítica e clínica em arquitectura Local Lisboa Ano 2014 Mediateca da Universidade Lusíada de Lisboa - Catalogação na Publicação ROSADO, Carlos Manuel Cunha, 1968- Devir-crítica e clínica em arquitectura / Carlos Manuel Cunha Rosado ; orientado por Mário João Alves Chaves. - Lisboa : [s.n.], 2014. - Dissertação de Mestrado Integrado em Arquitectura, Faculdade de Arquitectura e Artes da Universidade Lusíada de Lisboa. I - CHAVES, Mário João Alves, 1965- LCSH 1. Arquitectura - Filosofia 2. Kant, Immanuel, 1724-1804 - Crítica e interpretação 3. Duchamp, Marcel, 1887-1968 - Crítica e interpretação 4. Serpentine Gallery Pavilion (Londres, Inglaterra) 5. Universidade Lusíada de Lisboa. Faculdade de Arquitectura e Artes - Teses 6. Teses - Portugal - Lisboa 1. Architecture - Philosophy 2. Kant, Immanuel, 1724-1804 - Criticism and interpretation 3. Duchamp, Marcel, 1887-1968 - Criticism and interpretation 4. Serpentine Gallery Pavilion (London, England) 5. Universidade Lusíada de Lisboa. Faculdade de Arquitectura e Artes - Dissertations 6. Dissertations, Academic - Portugal - Lisbon LCC 1. NA2500.R67 2014 Este trabalho é dedicado à Joana Daniela Ema AGRADECIMENTOS A presente dissertação foi acompanhada pelo Prof. Doutor Arq. Mário João Alves Chaves, a quem agradeço toda a orientação e apoio ao longo da elaboração da tese e ainda a influência fundamental que exerceu na minha formação como arquitecto. Aos meus pais, pelos bons exemplos, apoio e incentivo incondicionais. Aos meus alunos com quem trabalho e respeito pelo tempo que me deram durante o período da elaboração deste documento. lmmanuel Kant (1724-1804) Pintado em 1768 por J. W. Beker (1744-1782) por encomenda do livreiro de Kant em Königsberg Crédito: Foto / © Crítica da Razão Pura - lmmanuel Kant – Fundação Calouste Gulbenkian «A crítica da razão acaba, necessariamente, por conduzir à ciência, ao passo que o uso dogmático da razão, sem crítica, leva, pelo contrário, a afirmações sem fundamento, a que se podem opor outras por igual verossímeis e, consequentemente, ao cepticismo»1 Immanuel Kant «Eis por que a determinação de uma forma superior da faculdade de conhecer é ao mesmo tempo a determinação de um interesse da Razão: «Conhecimento racional e conhecimento a priori são coisas idênticas», ou os juízos sintéticos a priori são 2 igualmente princípios do que se deve dominar «as ciências teoréticas da razão» Faculdade de conhecer superior Gilles Deleuze 1 KANT, Immanuel, Crítica da Razão Pura – baseada na edição crítica de Raymund Schmidt, confrontada com a edição da Academia de Berlim e com a edição de Ernst Cassirer, 5ª Ed. da Fundação Calouste Gulbenkian, 2001 – INTRODUÇÃO - VI - PROBLEMA GERAL DA RAZÃO PURA - B 23. 2 DELEUZE, Gilles – A Filosofia Crítica de Kant. – Reimp. – (O saber da filosofia; 3), Ed. 70, 2009, p.12. CRPr, prefácio; CRP, introd. 5. Immanuel Kant (1724-1804). APRESENTAÇÃO DEVIR-CRÍTICA E CLÍNICA EM ARQUITECTURA Carlos Manuel Cunha Rosado A presente investigação tem como objectivo estudar o conhecimento do individuo na composição do pensamento arquitectónico pela apreciação intelectual crítica como um devir [pensar, questionar, entender e experimentar]. Para isso, é usado como impulso, metodologias próprias da filosofia e crítica cinematográfica no juízo da procura e na construção de questões e elaboração de respostas. Se por um lado pretendemos estudar o conhecimento pela idealização prosaica, sendo um entendimento do seu próprio género, sui generis, por outro, pela complexidade simultânea da efemeridade arquitectónica. Devir-pensar é condição no estudo da teorética Kantiana na idealidade projectual de uma arquitectura dita prosaica pela Crítica da Razão Pura, juízo estético e tese «De mundi sensibilis atque intelligibilis forma et principiis» apresentada em 1770 por Kant. No sentido de focar a investigação procuraram-se peças de arquitectura que durante a pesquisa se elegeram os exemplos da colecção de <Architecture For Dogs> como objectos de análise numa iniciativa do arquitecto japonês Kenya Hara. Em devir-entender como leitura transversal do estudo das ideias, quisemos como pessoa neófita do pensamento de Christine Buci-Glucksmann fazer uma análise sobre produções efémeras com a questão: verdadeiro signo da sociedade, o efémero não se terá tornado uma nova modalidade do tempo na época da mundialização? Nesse sentido, o ponto para onde convergem as nossas estratégias é a conquista do pensamento pela análise do conceito <Serpentine> e a processabilidade do seu conhecimento, enquanto objecto cultural do grande público e no entendimento de como poderão essas peças competir com obras como o Tempietto de São Pedro de Montório de Bramante, a Villa Almerico Capra detta "La Rotonda" de Andrea Palladio, a Villa Savoye de Le Corbusier, o Pavilhão de Barcelona de Mies e a Glass House de Philip Cortelyou Johnson. Como variável a esta disputa, quisemos introduzir o sítio associado ao conceito serpentiano pelos jardins pitorescos de Kensington, estudando a desconstrução do pensamento tschumiano na idealização do conceito <La Villette> enquanto espaço urbano que reformulou ideias e conceitos na exploração do tema évènement pela promoção cultural e a noção de mouvement enquanto actividade dinâmica. Dentro deste universo arquitectónico entre um devir-pensar e um devir-entender, procurámos conhecer o entendimento das ideias na composição do efémero como crítica comparativa às duas intervenções do arquitecto japonês Sou Fujimoto pelas suas peças de colecção da <Serpentine> e da colecção de <Architecture For Dogs>. Por último, a lógica do fenómeno da reencarnação do efémero estudado em <Contos do além> pela política do número de interpretações que o artefacto é sujeito pelo mundo da cultura contemporânea como um readymade de Marcel Duchamp. Sobre este autor, houve a intenção de metamorfosear os seus porquês em devir-questionar como uma construção clínica do pensamento no conteúdo empírico de imaginar e perceber o significado de se ser um indivíduo. Finalmente, em devir-experimentar, a experiência de experimentar como uma mise en scène, uma linguagem técnica do cinema, a experiência acumulada ao longo dos últimos anos no papel de professor, ensaísta e agitador, casos discutíveis como o de uma coluna vertebral da nossa consciência, subordinada à sociedade do mundo cultural e consequentemente o da arquitectura. Devir-experimentar é uma circunstância no estudo do <Project Dream 2011 – o espaço real, «No Borders?» – [outros mundos] – devir [super-herói], Exception (X) Tower – devir-associar, The Geometric Abstractionism – devir-abstrair, «Rendez-vous» de significados, Espaço – Homem – Obra de Arte – O registo cinematográfico e Modos de ver – O ensaio visual – A história em imagens>. Palavras-Chave: Arquitectura – Conhecimento – Crítica – Cultura-Mundo – Devir – Filosofia – Indivíduo – Mundo-ecrã – Pensamento. PRESENTATION BECOMING-CRITICISM AND CLINIC IN ARCHITECTURE Carlos Manuel Cunha Rosado The following investigation aims at studying the knowledge of the individual in the composition of the architectural thought using a critical intellectual appreciation as a becoming [thinking, questioning, understanding and experimenting]. In order to
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