Desconstrutivismo e arquitetura pós-moderna : da crítica cultural dos anos sessenta ao espetáculo no século XXI.

Abstract

The objective of the research (and dissertation) is to conceptualize and contextualize the deconstructivist architecture, based on a study of the conditions of modernity that made possible the emergence, the permanence, the end and the legacy of this trend architectural. Were examined the criticisms to reason, to science and to different conceptions of history, from the sixties of the twentieth century. It was considered that those criticisms had marked the "Post-Modernity", in culture and architecture. Among others, was taken up the problem of the recovery of the subject in the culture of modernity that made the normalizing of subjectivities. Postmodernity would have been the moment and approaches that sought to deconstruct the certainties of Modernity. The European and U.S. Deconstructionism leaned on phenomenology, structuralism and post-structuralism, as well as hermeneutics. Tried to assimilate the phenomenon of globalization, a new aesthetic paradigm and reflections of the linguistic turn in philosophy, in humanities science, in cultural criticism and also in architecture. The philosopher Jacques Derrida was studied in this research as the mastermind of deconstructionism in architecture, and he himself worked on some projects. The method of approach to understanding the deconstructivist phenomenon was hermeneutical and reconstructive. Segments of Derrida's trajectory were studied retrospectively, from its emergence in the field of architecture. The reconstruction of deconstructivism also encompassed art and film, the conceptual art and was identified the Deconstructivism in architecture as part of Post-Modernity. It was detailed analysis of the epoch, of the metalinguistic character and of the deconstructivist architecture's hypertext. It was Problematized the duality between representation and reality in architecture. Through a graphical analysis of selected architectural works, the research made a turn and went on to describe the deconstructivist architecture not only as a postmodernist aesthetic trend, but exhibited a poetic's field of architecture underlying to the architectural deconstructivism. Two architects were chosen to demonstrate this finding: Peter Eisenman and Bernard Tschumi. The Parc de la Villette in Paris was taken as a key work for understanding the deconstructivist approach and poetic in architecture. It was concluded that the deconstructivist architecture, to reach their "postscripts" was dissolved in mass culture, in the field of architecture and began to serve as references for other architectures distant of the deconstructive paramount goals. The critical force of the “prefaces” of Deconstructivism was removed and neutralized by the popularity necessary to an architecture of globalization. Also been registered changes in the directions of the careers of studied architects, after the completion of the Parc de La Villette. It was resumed their "solo careers", although sharing positions. Also, it was confirmed one of the theses of the architect and historian Manfredo Tafuri, according to which in modernity the production of architecture does not exceed the limits of ideologies, with borrowed time. The avant-garde poetics eventually being received as “styles” and its critical force suppressed and neutralized. The fate of the architectural deconstructivism accompanied the fate of other arts, in globalization capitalism. To be received by its formal character, for its aesthetics, the deconstructivist architecture was received as a development of a “vanguard” for some time, until its dissolution in contemporary aesthetics of the superfluous or the (hyper)aesthetic, the object without function, exclusively aesthetic.