Project and coherence. The concept of coherence in the theoretical reflection on the architectural project in the 20th century
This research has as initial aim an inquest review of the notion of coherence in the theoretical reflection about the architectural project during the twentieth century. I have detected that it is in an imprecise conceptual state, openly indeterminate and paradoxically contradictory. This encourages...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | Chile |
| OAI Identifier: | oai:repositorio.anid.cl:10533/246526 |
| Acceso en línea: | https://hdl.handle.net/10533/246526 |
| Access Level: | acceso abierto |
| Palabra clave: | Humanidades Otras Humanidades |
| Sumario: | This research has as initial aim an inquest review of the notion of coherence in the theoretical reflection about the architectural project during the twentieth century. I have detected that it is in an imprecise conceptual state, openly indeterminate and paradoxically contradictory. This encourages possible superficial comprehensions and utilizations, being commonly associated with modernist rationalism and simplistic, inflexible, limited and bored criteria, between others. The development of this work supposes deepening and reordering arguments –as focused fields of approximation - in four levels of relation with the architectural project: epistemic, ethical, aesthetical and poetical. This allows opening a gap of inquiry, helping to plan, specify and update the coherence notion that receives this way a deeper potential sense for the projectual practice and debate. At the beginning, the investigation contains a comprehension of the object of study from other disciplines, reaching a conceptual frame for later deepening in the discipline, whose media contemporary context stretches it to be place as an artful enemy. In opposition to this notion the thesis centers on a search, which from the ' fields of relation ' of coherence in the project, it organizes in dialectical couples where every chapter (epistemic-ethical, ethical – aesthetic, aesthetic – poetical and poetical - epistemic) supposes a concentric ring of gradual approximation to the object of study; where extremes meet in a paratactic structure. Thus, the research goes through the most important arguments that the conceptual contributions- from architectural thinking about project- have constituted to the notion of coherence from a critical rereading of modernity. In each chapter, the investigation reaches distinctions that allow drawing a picture necessarily unfinished, about the implications and nuances that searches are getting in their process of reiterative, polyhedral and continuous approach. The coherence is unveiled and presented through various ‘catalysts’ concepts that act as intermediaries to reach it, because from the architectural discourse, and despite its individual nature, common ideas and argument constructs subsist. In a way, the thesis manages to weave an approach to the concept that, as a synthetic and global attribute, must tend to relate and compose all the links and interrelationships between elements, systems and structures in a unique formal unity. Broadly speaking, the research includes two general systems of coherence in the project: the implications with context, the society and the environment that defines its external relevance; and the very conditions of the object which determine its internal consistency. Both systems simultaneously, synergistic and synthetic, are shaping, in each pair of dialectical research, a branched inquiry. |
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