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O ALTO E O BAIXO NA ARQUITETURA.Pdf UNIVERSIDADE DE BRASÍLIA FACULDADE DE ARQUITETURA E URBANISMO O ALTO E O BAIXO NA ARQUITETURA Aline Stefânia Zim Brasília - DF 2018 1 ALINE STEFÂNIA ZIM O ALTO E O BAIXO NA ARQUITETURA Tese apresentada ao Programa de Pós-Graduação em Arquitetura e Urbanismo da Faculdade de Arquitetura da Universidade de Brasília como requisito parcial à obtenção do grau de Doutora em Arquitetura. Área de Pesquisa: Teoria, História e Crítica da Arte Orientador: Prof. Dr. Flávio Rene Kothe Brasília – DF 2018 2 TERMO DE APROVAÇÃO ALINE STEFÂNIA ZIM O ALTO E O BAIXO DA ARQUITETURA Tese aprovada como requisito parcial à obtenção do grau de Doutora pelo Programa de Pesquisa e Pós-Graduação da Faculdade de Arquitetura e Urbanismo da Universidade de Brasília. Comissão Examinadora: ___________________________________________________________ Prof. Dr. Flávio René Kothe (Orientador) Departamento de Teoria e História em Arquitetura e Urbanismo – FAU-UnB ___________________________________________________________ Prof. Dr. Fernando Freitas Fuão Departamento de Teoria, História e Crítica da Arquitetura – FAU-UFRGS ___________________________________________________________ Prof. Dra. Lúcia Helena Marques Ribeiro Departamento de Teoria Literária e Literatura – TEL-UnB ___________________________________________________________ Prof. Dra. Ana Elisabete de Almeida Medeiros Departamento de Teoria e História em Arquitetura e Urbanismo – FAU-UnB ___________________________________________________________ Prof. Dr. Benny Schvarsberg Departamento de Projeto e Planejamento – FAU-UnB Brasília – DF 2018 3 AGRADECIMENTOS Agradeço a todos que compartilharam de alguma forma esse manifesto. Aos familiares que não puderam estar presentes, agradeço a confiança e o respeito. Aos amigos, colegas e alunos que dividiram as inquietações e os dias difíceis, agradeço a presença. Aos que não puderam estar presentes, agradeço a confiança. Aos professores, colegas e amigos do Núcleo de Estética, Hermenêutica e Semiótica. Aos professores da Universidade de Brasília que me acompanharam e, direta ou indiretamente, contribuíram. Aos colegas da Universidade Católica de Brasília pelo apoio. Agradeço À Elza, pela revisão cuidadosa e pela amizade, Ao Douglas pelas imagens de prontidão, Aos amigos, e Ao Márcio, pela parceria de vida. Agradeço especialmente ao professor Flávio Kothe, Pela beleza do texto desvelado, Em prosa e poesia. 4 RESUMO O problema central da tese “O alto e o baixo na arquitetura” é desenvolvido a partir do estranhamento dos sistemas de classificações. O suporte categórico vem do Formalismo russo, movimento que revolucionou a Teoria Literária na segunda década do século XX. Sugerem-se dois conceitos fundamentais, o da automatização da linguagem e o de estranhamento sobre o sistema de classificações, que serão a base para formar a constelação categórica entre os estudos de caso, os recursos da arquitetura e os recursos da Teoria Literária. A partir da problematização central, apresenta-se uma análise dos gêneros que põe em visão panorâmica as dicotomias convencionadas em torno da verdade e representação, dos recursos de elevação e rebaixamento, do popular e erudito, dos sagrados e profanos, da beleza e da feiura. Os conceitos são direcionados às contradições e tensões inerentes ao objeto arquitetônico, questionando-se as verdades por trás das convenções estabelecidas. Os estudos de caso compreendem uma cadeia genética que é o fio condutor da tese e que dará sentido à constelação categórica. Cronologicamente, o movimento inicial foi dado por Dismaland, sendo o primeiro objeto a ser estranhado. Criou-se então a seguinte estrutura hipotética: a instalação parodia o best-seller “Disney” que se sustenta pelo gosto popular (kitsch), sendo um gênero menor que imita o elevado. O elevado é representado pelo castelo da Baviera, uma estilização dos castelos medievais. Mais do que estudar a perspectiva da arquitetura como expressão renegada, estudam-se os gêneros e as espécies renegadas. Ao questionar-se as classificações dentro dos sistemas arquitetônicos, questionam-se os critérios que definiram os exemplares e os renegados. O olhar particular pode revelar, além da realidade aparente, a realidade oculta. O conceito de aparência, nesse sentido, dialoga com a ideia da beleza aparente como verdade. Estudar a arquitetura no sistema das artes é um meio de elevar algo que foi rebaixado, deixando o objeto em si em segundo plano, assim como estudar os “renegados” na arquitetura pode, igualmente, deslocar o foco do objeto para o sistema que o envolve. Diante dessa contradição, o trabalho sugere dois movimentos: a visão panorâmica do sistema de convenções e classificações da arquitetura e a visão particular de determinadas obras como chaves hermenêuticas de interpretação desse mesmo sistema que as compõem. Em outras palavras, a sinédoque: ver a parte no todo e o todo no fragmento. Admitindo-se que a Literatura Comparada pode contribuir fundamentalmente para o desenvolvimento da disciplina de “arquitetura comparada”, propõe- se o deslocamento de alguns dos recursos de elevação e de rebaixamento da literatura para objetos arquitetônicos. Estudam-se os recursos e gêneros da dissimulação, ou seja, do disfarce e do ocultamento da verdade. Quem ri de quem? Quem parodia e quem é parodiado? São perguntas que permeiam o texto na tentativa de revelar os agentes ocultos, disfarçados pelos recursos de automatização da experiência e de supressão da linguagem. Palavras-chave: Arquitetura comparada. Formalismo russo. Estranhamento. Sistemas de classificações. 5 ABSTRACT The central thesis problem "The high and low in architecture" is developed from the enstrangement of classification systems. Categorical support comes from Russian Formalism, a revolutionary movement Literary Theory in the second decade of twentieth's. Two fundamental concepts are suggested: language automatization and enstrangement about the classification system, which will be the basis for forming the categorical constellation between the case studies, the architecture resources and the resources of the Literary Theory. From the central problematization, an analysis of the genres is presented that puts in panoramic view the conventions dichotomies around the truth and representation, of the resources of elevation and downgrade, of the popular and erudite, the sacred and the profane, the beauty and the ugliness. The concepts are directed to the contradictions and tensions inherent to the architectural object, questioning the truths behind the established conventions. The case studies comprise a genetic chain that is the guiding thread of the thesis and will give meaning to the categorical constellation. Chronologically, the initial movement was given by Dismaland, being the first object to be strange. The following hypothetical structure was created: the installation parodies the bestseller "Disney" which is based on the popular taste (kitsch), being a minor genre that imitates the high. The high is represented by Bavaria's Castle, a stylization of the medieval castles. More than studying the perspective of architecture as a renegade expression, it was been studied renegade genres and species. When questioning the classifications within the architectural systems, the criteria that define the exemplars and the renegades are questioned. The particular view can reveal, beyond the apparent reality, the hidden reality. The concept of appearance, in this sense, dialogues with the idea of apparent beauty as truth. Studying architecture in the art system is a means of elevating something that has been downgraded, leaving the object itself in the background, as well as studying the renegades in architecture can also shift the focus from the object to the system that surrounds it. Facing this contradiction, the work suggests two movements: the panoramic view of the system of conventions and classifications of architecture, and the particular view of certain works as interpretation's hermeneutical keys of that same system that composes it. In other words, the synecdoche: see the part in the whole and the whole in the fragment. Assuming that Comparative Literature can contribute fundamentally to the development of the discipline of "comparative architecture", it is proposed the displacement of some of the resources of elevation and lowering of the literature for architectural objects. The resources and genres of dissimulation, that is, of the disguise and concealment of truth, are studied. Who laughs at whom? Who parodies and who is parodied? There are questions that permeate the text in an attempt to reveal hidden agents, disguised by the resources of experience automation and language suppression. Keywords: Comparative architecture. Russian Formalism. Enstrangement. Classification systems. 6 A razão tem emoções que o coração desconhece. (Millôr Fernandes) 7 LISTA DE FIGURAS Figura 1– O castelo da Cinderela na Disney .................................................................... 16 Figura 2– Dismaland, 2015. Banksy. .................................................................................... 17 Figura 3 – O castelo de Neuschwanstein na Baviera, Alemanha. ................................ 18 Figura 4 – Minitália em Rimini, Itália. .................................................................................. 20 Figura 5 – Muralha da China. ............................................................................................. 45 Figura 6 – Fachadas ecléticas em Paris. ..........................................................................
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