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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Universidad de Sevilla (España)
2006
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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. |
| author2 |
Diañez Rubio, Pablo (Universidad de Sevilla) |
| author_facet |
Diañez Rubio, Pablo (Universidad de Sevilla) Quesada-García, Santiago |
| format |
text (thesis) |
| author |
Quesada-García, Santiago |
| spellingShingle |
Quesada-García, Santiago Imitatio Naturae. El paisaje como referente en la arquitectura contemporánea. |
| author_sort |
Quesada-García, Santiago |
| title |
Imitatio Naturae. El paisaje como referente en la arquitectura contemporánea. |
| title_short |
Imitatio Naturae. El paisaje como referente en la arquitectura contemporánea. |
| title_full |
Imitatio Naturae. El paisaje como referente en la arquitectura contemporánea. |
| title_fullStr |
Imitatio Naturae. El paisaje como referente en la arquitectura contemporánea. |
| title_full_unstemmed |
Imitatio Naturae. El paisaje como referente en la arquitectura contemporánea. |
| title_sort |
imitatio naturae. el paisaje como referente en la arquitectura contemporánea. |
| publisher |
Universidad de Sevilla (España) |
| publishDate |
2006 |
| url |
https://dialnet.unirioja.es/servlet/oaites?codigo=25771 |
| work_keys_str_mv |
AT quesadagarciasantiago imitationaturaeelpaisajecomoreferenteenlaarquitecturacontemporanea |
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1718346603988779008 |
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oai-TES00000036052021-02-26Imitatio Naturae. El paisaje como referente en la arquitectura contemporánea.Quesada-García, SantiagoThe 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.El concepto contemporáneo de Paisaje supera la vieja distinción entre objeto y sujeto, en él se reconocen los límites entre el mundo físico y fenomenológico que la visión ilustrada había separado; es capaz de representar y significar, a la vez, una armonía generalizable de valores estéticos, económicos, afectivos, emocionales o culturales, lo que provoca un deseo incoativo y racional de aprehenderlo por parte del sujeto que lo percibe. El paisaje se ha convertido para la arquitectura contemporánea en un modelo exento del estatismo de la antigua Naturaleza premoderna. Este trabajo pretende demostrar que el paisaje es un referente figurativo, analógico, emocional, en definitiva, un prototipo o modelo para la arquitectura contemporánea. Hipótesis que lleva implícita la especulación que el proyecto arquitectónico es una acción basada en la imitación. A diferencia del proyecto de ascendencia clasicista, la ausencia actual de un sistema de verificación en el proceso de proyecto hace que la capacidad de reconocimiento, de la forma y materiales que lo componen, sea básica; lo que supone una intensificación del juicio estético como actividad esencial del proyecto. El único modo de cultivar esa capacidad de juicio es practicándola, por tanto, es necesario sumergirse en el sistema de valores que proponen determinados modelos, reconocerlos, conocerlos y extender sus principios a situaciones alternativas. Es la incesante búsqueda de un modelo a imitar. El modelo contemporáneo es un ser dinámico y vivo orientado hacia el futuro que, con sus principios y reglas estructurales, suscita un deseo: la acción racional de imitar en otro sujeto, éste al hacerlo acumula una experiencia extrayendo determinadas conclusiones. La relación modelo-copia, consustancial en toda imitación, adopta una nueva forma, consiste en una acción entre sujeto-modelo y sujeto-imitador, dos sujetos libres. Una intersubjetividad de la que carecía la imitación premoderna. La conclusión es que el proyecto arquitectónico es una praxis subjetiva caracterizada por el deseo incoativo de imitación que provocan determinados modelos o referentes elegidos siempre de una manera racional, consciente y libre. Acción de la que se extrae siempre una experiencia. El paisaje como límite es uno más de los múltiples modelos de la arquitectura contemporánea.Universidad de Sevilla (España)Diañez Rubio, Pablo (Universidad de Sevilla)2006text (thesis)application/pdf(Tesis) ISBN 978-84-695-7024-1 https://dialnet.unirioja.es/servlet/oaites?codigo=25771spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. 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