Photography and architecture maintain a unique and constant relationship with each other. The invention and technology of one proved to be the optimal mechanisms for the dissemination of the latter, transforming it into an ideal model in front of a camera. However, these evidences, embodied in paper, also reveal the installation of a disciplinary field that tied the visual and aesthetic canons of both disciplines. This text proposes therefore to investigate this binomial based on the invariants that circumscribed the architecture photography of the 20th Century. The methodology applied resorted to texts that delve into visual culture, together with theoretical literature about photography and classic examples of architecture. In the attempt to analyze, partially, the visual communication of the architecture – from a contemporary perspective, overvalued by image consumerism – it is concluded that it is evident that the photographer officiates as the translator of architectural conventions, while the architect does it as an organizer of his images. Both establish visual codes that last over time and, in each photographic act, confirm and deepen their disciplinary artistic discourses.
{"title":"Persistent Conventions in 20th Century Architecture Photography","authors":"David Alarcón, Patricia Méndez","doi":"10.56255/ma.v0i19.430","DOIUrl":"https://doi.org/10.56255/ma.v0i19.430","url":null,"abstract":"Photography and architecture maintain a unique and constant relationship with each other. The invention and technology of one proved to be the optimal mechanisms for the dissemination of the latter, transforming it into an ideal model in front of a camera. However, these evidences, embodied in paper, also reveal the installation of a disciplinary field that tied the visual and aesthetic canons of both disciplines. This text proposes therefore to investigate this binomial based on the invariants that circumscribed the architecture photography of the 20th Century. The methodology applied resorted to texts that delve into visual culture, together with theoretical literature about photography and classic examples of architecture. In the attempt to analyze, partially, the visual communication of the architecture – from a contemporary perspective, overvalued by image consumerism – it is concluded that it is evident that the photographer officiates as the translator of architectural conventions, while the architect does it as an organizer of his images. Both establish visual codes that last over time and, in each photographic act, confirm and deepen their disciplinary artistic discourses.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45285574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents the debate on the formulation and the original proposals regarding Bernard Rudofsky ́s 1944 exhibition for the Museum of Modern Art of New York. Through the analysis of the original letters sent by the architect during the research and curatorship of the exhibition, the research history, and the objects that did not make it to the show, it is possible to conclude that the exhibition ends up conforming to the conventions that modern architecture posed, exactly those that Rudofsky aimed to criticize. The exhibition established a dialogue between clothes and rationalized body, that turned out critical specifically among the difficult times after the end of Second World War.
{"title":"Clothes, conventions and modernity. Rudofsky ́s exhibition at the MoMA","authors":"Anita Puig Gómez","doi":"10.56255/ma.v0i19.435","DOIUrl":"https://doi.org/10.56255/ma.v0i19.435","url":null,"abstract":"This article presents the debate on the formulation and the original proposals regarding Bernard Rudofsky ́s 1944 exhibition for the Museum of Modern Art of New York. Through the analysis of the original letters sent by the architect during the research and curatorship of the exhibition, the research history, and the objects that did not make it to the show, it is possible to conclude that the exhibition ends up conforming to the conventions that modern architecture posed, exactly those that Rudofsky aimed to criticize. The exhibition established a dialogue between clothes and rationalized body, that turned out critical specifically among the difficult times after the end of Second World War.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47925699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este articulo presenta el debate entre la formulación de la exposición de Bernard Rudofsky para el Museo de Arte Moderno de Nueva York en 1944 y las propuestas originales del arquitecto. Por medio del análisis de las cartas enviadas durante la organización y curatoría de la muestra, la investigación que hubo tras ella y las piezas que no lograron ser parte de la misma, es posible concluir que la exhibición termina ajustándose a las convenciones que la arquitectura moderna planteaba y que precisamente Rudofsky se esforzaba en criticar. En la muestra se establece un diálogo entre indumentaria y cuerpo racionalizado, el que resultó fundamental durante el crítico periodo que siguió a la Segunda Guerra Mundial.
{"title":"INDUMENTARIA, CONVENCIONES Y MODERNIDAD: BERNARD RUDOFSKY EN EL MOMA","authors":"Anita Puig Gómez","doi":"10.56255/ma.v0i19.438","DOIUrl":"https://doi.org/10.56255/ma.v0i19.438","url":null,"abstract":"Este articulo presenta el debate entre la formulación de la exposición de Bernard Rudofsky para el Museo de Arte Moderno de Nueva York en 1944 y las propuestas originales del arquitecto. Por medio del análisis de las cartas enviadas durante la organización y curatoría de la muestra, la investigación que hubo tras ella y las piezas que no lograron ser parte de la misma, es posible concluir que la exhibición termina ajustándose a las convenciones que la arquitectura moderna planteaba y que precisamente Rudofsky se esforzaba en criticar. En la muestra se establece un diálogo entre indumentaria y cuerpo racionalizado, el que resultó fundamental durante el crítico periodo que siguió a la Segunda Guerra Mundial.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41593292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La forma de las convenciones","authors":"Gonzalo Carrasco Purull","doi":"10.56255/ma.v0i19.434","DOIUrl":"https://doi.org/10.56255/ma.v0i19.434","url":null,"abstract":"","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49162701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay outlines the influence that the new guidelines and conventions introduced by the postwar representations of the user exerted on the design of collective housing during the period between ca. 1950 and ca. 1970. It analyzes the forces that brought them to the fore, its various meanings, the polemics it was part of, and fundamentally, how its instrumentalization ushered in a new agenda of heterogeneity – a process that allowed a drastic raising of the threshold of architecture’s formal and procedural complexity. The conclusions establish that what had been initially posited as a set of external demands on architectural design became a means by which the discipline was able to adapt and exert its influence on the new cultural conditions of what would later be described as the era of postfordism. The findings of the essay are based on a review of relevant primary sources as well as recent historiographical discussions of the architecture of the postwar period.
{"title":"A Springboard for Complexity: The User as a Critique of Modernist Architectural Conventions, ca. 1960","authors":"Julián Varas","doi":"10.56255/ma.v0i19.421","DOIUrl":"https://doi.org/10.56255/ma.v0i19.421","url":null,"abstract":"This essay outlines the influence that the new guidelines and conventions introduced by the postwar representations of the user exerted on the design of collective housing during the period between ca. 1950 and ca. 1970. It analyzes the forces that brought them to the fore, its various meanings, the polemics it was part of, and fundamentally, how its instrumentalization ushered in a new agenda of heterogeneity – a process that allowed a drastic raising of the threshold of architecture’s formal and procedural complexity. The conclusions establish that what had been initially posited as a set of external demands on architectural design became a means by which the discipline was able to adapt and exert its influence on the new cultural conditions of what would later be described as the era of postfordism. The findings of the essay are based on a review of relevant primary sources as well as recent historiographical discussions of the architecture of the postwar period.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48016985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La cultura del consumo a gran escala se ha apropiado de casi todas las esferas de nuestra vida y los territo- rios disponibles. Una de las tipologías especificas incubadas a mediados del siglo XX, la del hipermercado, corresponde a un dispositivo específico y complejo de acumulación de capital —donde la libertad colectiva desaparece— definida por una estructura genérica y flexible en la cual solo podemos existir como consu- midores individuales. En años recientes, el modelo de hipermercado, templo de los agronegocios y de la producción en masa, ha comenzado a ser afectado por los cambios en los hábitos de los consumidores: el desarrollo del mercado online y el cambio hacia la personalización —o, mejor dicho, el deseo de retornar a una forma más humana de consumo— han puesto en jaque la sobreescalada oferta que proveen estas estructuras comerciales. La arquitectura tiene mucho que decir dentro de este nuevo marco y sus condicio- nes. Como forma de conocimiento estratégico común, puede, de hecho, contribuir en el proceso de refor- mar modelos obsoletos y convencionales con una agenda clara. El hipermercado es solo uno de los modelos susceptibles de corrección y transformación en el contexto de la necesaria comunalización del mundo.
{"title":"HACIÉNDOLE COSQUILLAS AL GIGANTE: REESTRUCTURANDO EL HIPERMERCADO","authors":"Felipe De Ferrari, Kim Courrèges","doi":"10.56255/ma.v0i19.427","DOIUrl":"https://doi.org/10.56255/ma.v0i19.427","url":null,"abstract":"La cultura del consumo a gran escala se ha apropiado de casi todas las esferas de nuestra vida y los territo- rios disponibles. Una de las tipologías especificas incubadas a mediados del siglo XX, la del hipermercado, corresponde a un dispositivo específico y complejo de acumulación de capital —donde la libertad colectiva desaparece— definida por una estructura genérica y flexible en la cual solo podemos existir como consu- midores individuales. En años recientes, el modelo de hipermercado, templo de los agronegocios y de la producción en masa, ha comenzado a ser afectado por los cambios en los hábitos de los consumidores: el desarrollo del mercado online y el cambio hacia la personalización —o, mejor dicho, el deseo de retornar a una forma más humana de consumo— han puesto en jaque la sobreescalada oferta que proveen estas estructuras comerciales. La arquitectura tiene mucho que decir dentro de este nuevo marco y sus condicio- nes. Como forma de conocimiento estratégico común, puede, de hecho, contribuir en el proceso de refor- mar modelos obsoletos y convencionales con una agenda clara. El hipermercado es solo uno de los modelos susceptibles de corrección y transformación en el contexto de la necesaria comunalización del mundo.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46846853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article inquires into the notion of Chilean building as a structural standard based on reinforced concrete walls as a seismically efficient resource. The theory and practice of this convention are contrasted with the Chilean Seismic Design Code through three local architecture projects built within the 70’s decade and the year 2009. Finally, the significance of this convention is discussed, proposing a conceptual expansion of the Chilean building from an architectural perspective.
{"title":"The Chilean Building and the Earthquake-Proof Building Standards","authors":"Marco Barrientos","doi":"10.56255/ma.v0i19.418","DOIUrl":"https://doi.org/10.56255/ma.v0i19.418","url":null,"abstract":"The article inquires into the notion of Chilean building as a structural standard based on reinforced concrete walls as a seismically efficient resource. The theory and practice of this convention are contrasted with the Chilean Seismic Design Code through three local architecture projects built within the 70’s decade and the year 2009. Finally, the significance of this convention is discussed, proposing a conceptual expansion of the Chilean building from an architectural perspective.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46215515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Todo lo que vendría siendo","authors":"Amanda Hansen","doi":"10.56255/ma.v0i19.419","DOIUrl":"https://doi.org/10.56255/ma.v0i19.419","url":null,"abstract":"","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49134989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fotografía y arquitectura guardan entre sí una relación unívoca y constante. El invento y la tecnología de la primera resultaron ser mecanismos óptimos para la divulgación de la segunda, transformándola en modelo ideal frente al gatillo de una cámara. Sin embargo, esas evidencias, plasmadas en papel, revelan también la instalación de un campo disciplinar que amarró los cánones visuales y estéticos de ambas disciplinas. Este texto se propone entonces indagar este binomio a partir de las invariantes que circunscribieron la foto- grafía de arquitectura del siglo XX. La metodología aplicada recurrió a textos que profundizan la cultura visual, en conjunto con literatura teórica sobre fotografía y ejemplos clásicos de arquitectura. En el intento de analizar, parcialmente, la comunicación visual de la arquitectura —desde la mirada contemporánea, sobrevalorada por el consumismo de imágenes— se concluye que es evidente que el fotógrafo oficia de traductor de las convenciones arquitectónicas mientras el arquitecto lo hace como organizador de sus imágenes. Ambos establecen códigos visuales que perduran en el tiempo y, en cada acto fotográfico, confirman y profundizan sus discursos disciplinares.
{"title":"CONVENCIONES PERSISTENTES EN LA FOTOGRAFÍA DE ARQUITECTURA DEL SIGLO XX","authors":"Patricia Méndez","doi":"10.56255/ma.v0i19.426","DOIUrl":"https://doi.org/10.56255/ma.v0i19.426","url":null,"abstract":"Fotografía y arquitectura guardan entre sí una relación unívoca y constante. El invento y la tecnología de la primera resultaron ser mecanismos óptimos para la divulgación de la segunda, transformándola en modelo ideal frente al gatillo de una cámara. Sin embargo, esas evidencias, plasmadas en papel, revelan también la instalación de un campo disciplinar que amarró los cánones visuales y estéticos de ambas disciplinas. Este texto se propone entonces indagar este binomio a partir de las invariantes que circunscribieron la foto- grafía de arquitectura del siglo XX. La metodología aplicada recurrió a textos que profundizan la cultura visual, en conjunto con literatura teórica sobre fotografía y ejemplos clásicos de arquitectura. En el intento de analizar, parcialmente, la comunicación visual de la arquitectura —desde la mirada contemporánea, sobrevalorada por el consumismo de imágenes— se concluye que es evidente que el fotógrafo oficia de traductor de las convenciones arquitectónicas mientras el arquitecto lo hace como organizador de sus imágenes. Ambos establecen códigos visuales que perduran en el tiempo y, en cada acto fotográfico, confirman y profundizan sus discursos disciplinares.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49437900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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