Imitatio Naturae. El paisaje como referente en la arquitectura contemporánea.
The contemporary concept of Landscape outplays the old distinction between object and subject, which recognises the limits between the physical world and its phenomenological counterpart imposed by illustrated vision: it is capable of both representing and signifying generalisable harmony of aesthet...
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| Formato: | text (thesis) |
| Lenguaje: | spa |
| Publicado: |
Universidad de Sevilla (España)
2006
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| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaites?codigo=25771 |
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| Sumario: | The contemporary concept of Landscape outplays the old distinction between object and subject, which recognises the limits between the physical world and its phenomenological counterpart imposed by illustrated vision: it is capable of both representing and signifying generalisable harmony of aesthetic, economic, emotional or cultural values. The result is provocation of an inchoative and rational desire for apprehension amongst he who perceives. For contemporary architecture, landscape as a model has become exempt from the stillness of the old view of pre-modern nature.
This work aims to demonstrate that landscape acts as a figurative, analogous, emotional referent or, in short, a prototype or model for contemporary architecture. Such hypothesis carries the inherent notion that the architectural project is an action based on imitation.
Unlike classicist-derived projects, the modern absence of a process verification system means that the capacity to recognise form and materials of which a project consists is basic. In turn, this implies intensification of aesthetic judgement as an essential action. The only way to cultivate this judgement capacity is to practice it. Therefore, one must become submerged in a system of values that proposes certain models, recognises them, knows them and branches out in its principles to alternative situations. This is the incessant search for a model to imitate.
The contemporary model is dynamic and vibrant and is geared towards a future that, with its structural principles and rules, arouses a desire: manifesting as a rational action, one desires to imitate it and thus gains and builds experience by drawing conclusions. Innate to any type of imitation, the model-copy relationship adopts a new form and consists of an action that lies between subject-model and subject-imitator: two free subjects. The inter-subjectivity that was lacking in pre-modern imitation.
The conclusion is that the architectural project is a subjective praxis characterised by the inchoative desire to provoke certain models or referents chosen in an ever rational, conscious and free manner. Experience is always born from this action. Landscape as a boundary is just another of the multiple models of contemporary architecture. |
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