El Panecillo de Quito, de monte-artificio a artefacto urbano
(English) The urban fabric of many cities, as they grew, engulfed hills found on the edges of their colonial layout. Cities and their inhabitants developed a complex relationship with these protrusions that questioned the limits between the natural and the artificial. This has been the case of Quito...
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| Tipo de recurso: | tesis doctoral |
| Fecha de publicación: | 2023 |
| País: | España |
| Institución: | Universitat Politècnica de Catalunya (UPC) |
| Repositorio: | UPCommons. Portal del coneixement obert de la UPC |
| Idioma: | español |
| OAI Identifier: | oai:upcommons.upc.edu:2117/408158 |
| Acceso en línea: | https://hdl.handle.net/2117/408158 https://dx.doi.org/10.5821/dissertation-2117-408158 |
| Access Level: | acceso abierto |
| Palabra clave: | Àrees temàtiques de la UPC::Arquitectura Àrees temàtiques de la UPC::Urbanisme |
| Sumario: | (English) The urban fabric of many cities, as they grew, engulfed hills found on the edges of their colonial layout. Cities and their inhabitants developed a complex relationship with these protrusions that questioned the limits between the natural and the artificial. This has been the case of Quito and the hill called Panecillo next to its historic center. The complexity of this relationship was evident in the early representation of the city, as it captured the formal distinction of the hill with respect to the rest of the angular terrain of the Andes. From this point of view, Panecillo looked more like a constructed object than a geological protrusion of natural genesis. But how much did the representation of Panecillo influence the artificial image that the hill transmitted? Were the colonial and republican maps only a testimony of this artificiality, or were they active participants in the fabrication of the collective imagination of the hill and its subsequent use? Faced with these questions, this thesis set out to demonstrate that the graphic representation of Panecillo in cartography prior to contour line standardization not only reflected but influenced the way we think about it. To this end, manufactured objects that have been used by historians such as Luciano Andrade Marín and Javier Gomezjurado to relate the processes that the hill has undergone (temple, tunnel, monument) or to explain the role of Panecillo in the urban theory of Jorge Benavides Solís (edge, limit) were questioned. They were analyzed through historical data around Panecillo, related to the representation of the hill in the urban planimetry of the time, and classified into two large groups under which artificial things have been described: the artifice and the artifact. We are aware that analyzing a hill under concepts referring to the manufactured is problematic, but this hybridization allowed us to test the judgments and values that we give to nature. Looking at the Panecillo from the perspective of the artificial placed it into a category of architectonic landscape. The hill was understood by linking it to others of similar characteristics in the region, and lessons were extrapolated on its relationship with the city. Beyond the reflection on artificiality as a collectively accepted fiction, it was concluded that the artistic freedom of the portrayal of the terrain in these maps helped to introduce positions belonging to the artist or the institution that financed the map, delineating a collective image. Through the resemblances between the drawn "Panecillos", influences and lines of thought were established that configured the artificial image of the hill. The apparent artificiality of Panecillo was explained by thinking of it either as a sacred hill made by a divine entity, or as a product of man's rationality. In both cases, one looked at what one longed to see. This thesis explains the reason why Panecillo became a synthetic expression of the city of Quito and, at the same time, a typology of the urban landscape recurrent in the cities of the region. |
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