Arquitetura e outras artes: a pintura de Hammershøi e o sentido do espaço

Abstract

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.