Expansive architectural strategies in the mass society and their influence on the architectural projects
The present thesis couldn't have been unaffected by the recent economic crisis. Even before this crisis, it was well-known that architecture was languishing in its traditional boundaries. In the countries that didn't suffer this crisis, architecture didn't enjoy a smooth development a...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | España |
| Institución: | CBUC, CESCA |
| Repositorio: | TDR. Tesis Doctorales en Red |
| OAI Identifier: | oai:www.tdx.cat:10803/387432 |
| Acceso en línea: | http://hdl.handle.net/10803/387432 https://dx.doi.org/10.5821/dissertation-2117-96249 |
| Access Level: | acceso abierto |
| Palabra clave: | Herzog & de Meuron MVRDV (Firma) Miralles, Enric, 1955-2000 Koolhaas, Rem Àrees temàtiques de la UPC::Arquitectura 65 71 72 |
| Sumario: | The present thesis couldn't have been unaffected by the recent economic crisis. Even before this crisis, it was well-known that architecture was languishing in its traditional boundaries. In the countries that didn't suffer this crisis, architecture didn't enjoy a smooth development as well. Either the crisis and/or the "pressure" from other professions gave the impression of an introverted, weak, defensive and contracting architectural community. In that environment, the objective of this thesis was to define which actions the architectural profession could employ in order to shape a coherent budle of extroverted strategies. With the aim to specify those strategies, the thesis moved from the specific towards the general. lt gathered various "stories", mainly outside the architectural field, which explain a personal or a collective attempt of self-overcoming. Those stories, as they grew in number,started to move around a focal point which progressively revealed a name: "Brands". lt didn't take long to understand that the main enemy of the thesis was the strength and the diversity of the concept: "brand". In order to overcome this obstacle, the thesis decides to introduce an antithesis (a dipole). The introduced dipole was: services vs. brands. The services compete with each other in a merely quantificational manner. The service companies are better if they can be "more ... than" its competitors. lt is easy to compare because the comparison can be measured. The brands, by nature, can't be compared in a quantitative level. The customers acquire a brand product because they want to acquire the brand's values. The customers acquire the brand's imaginary, the story which lies behind it. Having specified the content and the function of those strategies, the next step is to see how they can work in the field of architecture. An assisting method that was used was to proceed with a categorization of architecture: formalist, conceptual, sensational etc architecture. In ali those different categories , the distinct form of implementation and the varied content of those strategies have been analyzed. This analysis included the content of the architectural imaginary and the architectural design methods which have been used in order to architecturally express those imaginaries. Above ali, it is important the thesis not to remain at the superficiality that the brands' tacticisms create. The architectural production and the creation of the architectural form are at the core of the architectural activity; so for that reason, the thesis tried to explain how the brands' strategies had determined the specific creation ofthe architectural forms. With the aim to bring together and interrelate the architectural brand strategies and the creation of the form; the thesis felt the necessity to focus on specific case-studies. lt has chosen OMA/Rem Koolhaas and Enric Miralles, together with the MVRDV and Herzog & de Meuron office. We have focused more at the two first. We have (tried to) demonstrate that Rem Koolhaas' office (representative of conceptual architecture) had created a strong architectural brand with critical and intellectual characteristics, giving emphasis to the public and the role of the urban and the metropolitan. He has a strategic vision and an iconic disposition. The famous "programming" and his tendency to find opportunities to research whatever laid within his professional grasp. On the other hand, Enric Miralles is a prominent figure of the formalist architecture. The hyperdefined geometry of his form, the persistency in the variation as a method and the symbolic role of the elements' repetition are the main factors for understanding his architecture and his brand's content. The calculated spontaneity of his forms and its complexity, as well as the density of spatial events, define the essence of his architecture. |
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