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Stéphane Denis Albert René Philippe Huchethttp://lattes.cnpq.br/9400245008288091Rita de Cássia Lucena VellosoVirgínia de Araújo FigueiredoKarl Erik Shøllhammerhttp://lattes.cnpq.br/5775241032346946André Bambirra Vaillant2023-10-17T20:35:21Z2023-10-17T20:35:21Z2023-09-21http://hdl.handle.net/1843/59561https://orcid.org/0000-0001-7884-6127Esta dissertação procura traçar uma crítica da técnica no que concerne o projeto arquitetônico sobretudo a partir da década de 1980. Nesse ínterim, trata mormente do conflito entre a arte e a técnica moderna, mais detidamente dos problemas pertinentes à arquitetura: sua debatida exclusão do campo das disciplinas artísticas e o argumento que a fundamenta, aquele de sua funcionalidade; as questões imbricadas de lugar e percepção, tentando entender as implicações existenciais da constituição humana para o habitar; a partir dessa última problemática, inserimos aquela da Stimmung, disposição ou atmosfera, e a pergunta pelo sentido. Para tanto, a presente escrita procede de duas formas, é dizer, a crítica de caráter filosófico e a análise comparada; traça um breve panorama histórico de sua problemática a partir da filosofia da primeira metade do século XX e, a seguir, debruça-se sobre a mais recente historiografia da arquitetura; como sua terceira etapa, dedica-se à análise de uma curta série de edifícios e, por fim, a uma série de pinturas do dinamarquês Vilhelm Hammershøi. Dessa forma, tem como objetivo principal operar reaproximações entre a arquitetura e as demais artes através do conceito de poética, retomando o sentido heideggeriano do termo no âmbito da crítica deste à técnica moderna. Nesse viés, contrapomos ao poético a reificação operada por essa técnica e a exclusão da consciência humana dos objetos produzidos na forma da alienação. À essa fratura destinamos uma segunda reaproximação, ou seja, aquela do humano, desde sua constituição ontológica, aos objetos produzidos – tratando, aqui, de edifícios – em que tomamos a obra de arte como modelo dessa reunião, como o produto em que o fazedor pode sempre encontrar-se. Dessa forma é que inserimos a discussão da Stimmung (disposição), conforme o §29 de Ser e Tempo, como um dos existenciais do modo de ser do humano (Dasein) e sua relação com a produção de sentido em geral, sobretudo a partir da ideia de Bestimmung (determinação, definição). Comentamos igualmente acerca do par αἴσθησις e νόησις na crítica da epistemologia da ciência. A parte final do trabalho dedica-se a procurar entender a relação da disposição com os objetos à mão, com os espaços que a arquitetura configura e o encontrar-se no mundo de modo mais geral. Este texto se conclui retomando a questão inicial pela afirmação da arquitetura enquanto arte e pretende ter podido demonstrá-lo em seu percurso.This dissertation seeks to outline a critique of technique with regard to architecture, mostly since the 1980s. Concurrently it deals mainly with the conflict between art and modern technique, more specifically with the problems pertinent to architecture: its debated exclusion from the artistic disciplines and the argument that sustains it, that of its functionality; the intertwined questions of place and perception, trying hereby to understand the existential implications of the human constitution for dwelling; from this last problem, that of the concept of Stimmung is inserted, and the question of meaning is therefrom derived. This writing proceeds therefore in two ways, namely philosophical criticism and comparative analysis; it traces a brief historical overview of its problematic from the philosophy of the first half of the 20th century and then looks at the most recent historiography of architecture; on its third stage, it dedicates itself to analysing a short series of buildings and a series of paintings by Vilhelm Hammershøi. Its main objective is to bring architecture and the other arts closer together through the concept of poetics, taking up the Heideggerian meaning of the term. We thus contrast the reification operated by this technique – and the exclusion of human consciousness from the objects produced in the form of alienation – with the poetic. To this fracture we assign a second rapprochement, that is, that of the human, in its ontological constitution, to the objects produced, concerning here buildings. In this last task we take the work of art as a model of this reunion, as the product in which the maker can always find himself. It is in this sense that we insert the discussion of Stimmung (disposition), according to §29 of Being and Time, as one of the existentials of the human mode of being (Dasein), and its relationship with the production of meaning in general, especially in connection to the idea of Bestimmung (determination, definition). Furthermore, this work comments on the pair αἴσθησις and νόησις introduced on the first part of Being and Time as a possible path to an epistemologic critique of science. The final part of the work is dedicated to trying to understand the relationship between disposition and the objects at hand, the spaces that architecture shapes and finding oneself in the world, more generally. This text is concluded by returning to the initial question of the affirmation of architecture as art, and wishes to have been able to demonstrate this throughout its writing.porUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em Arquitetura e UrbanismoUFMGBrasilARQ - ESCOLA DE ARQUITETURAhttp://creativecommons.org/licenses/by-nc-nd/3.0/pt/info:eu-repo/semantics/openAccessCrítica arquitetônicaEspaço urbanoArte e arquiteturaPoéticaOntologiaAtmosferaTécnicaPoéticaLugarSentidoArquitetura e outras artes: a pintura de Hammershøi e o sentido do espaçoArchitecture and the other arts: Hammershøi's painting and the sense of spaceinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGORIGINALDissertação - André Vaillant (EA-UFMG) 2023.pdfDissertação - André Vaillant (EA-UFMG) 2023.pdfapplication/pdf4130912https://repositorio.ufmg.br/bitstream/1843/59561/1/Disserta%c3%a7%c3%a3o%20-%20Andr%c3%a9%20Vaillant%20%28EA-UFMG%29%202023.pdfd03c229cfb6e6697c4f639cd70611ae6MD51CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8811https://repositorio.ufmg.br/bitstream/1843/59561/2/license_rdfcfd6801dba008cb6adbd9838b81582abMD52LICENSElicense.txtlicense.txttext/plain; charset=utf-82118https://repositorio.ufmg.br/bitstream/1843/59561/3/license.txtcda590c95a0b51b4d15f60c9642ca272MD531843/595612023-10-17 17:35:21.666oai:repositorio.ufmg.br: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ório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2023-10-17T20:35:21Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
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