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Advisor(s)
Abstract(s)
Toda a arte que defina um espaço para se consumar, toca no domínio da arquitectura, através da
definição dos materiais, da luz e da forma, (entre outros). Esta aproximação ao universo da
Arquitectura é proeminentemente sentida no Cinema. Onde os realizadores projectam,
constantemente, cenários que abraçam atmosferas específicas, de modo a enquadrar as acções
desejadas do enredo do filme.
Subsequentemente, o cinema revela ser uma ferramenta única que permite uma leitura mais
profunda no que toca ao universo da arquitectura. Esta arte vive de uma liberdade invejável, visto
que se encontra desamarrada das condicionantes do “mundo real” exigidas à arquitectura. Como
resultado, a arquitectura filmada, dá-nos a ver um gesto, em relação ao espaço construído e o
homem, mais próximo do real - ele dá-nos a ver os sentimentos que os espaços geram nas
pessoas.
Nesta sequência, a presente tese visa utilizar o cinema, como ferramenta de observação e leitura
da Arquitectura. A intenção primordial é verificar se os realizadores procuram, ou não, cenários
convergentes, para emoldurar situações negativas referentes ao homem (como por exemplo,
desumanas ou opressoras); ou para representar situações positivas (como situações de bemestar,
serenidade, ou alegria).
O trabalho desenvolve-se com base num estudo a 158 filmes distópicos, onde se vai observar as
situações que recorrem à imagem da Arquitectura Tradicional e da Arquitectura Moderna, para
emoldurar tais situações mencionadas. Posteriormente, pretende-se compreender que “lições” ao
nível da arquitectura, se podem retirar em comum de entre os filmes observados.
All art that defines a space for consummation touches on the domain of architecture, through the definition of materials, light and form, for example. This approach to the universe of Architecture is prominently felt in Cinema. Where the directors constantly project scenarios that embrace specific atmospheres, in order to better frame the desired actions that make up the film. Subsequently, the cinema proves to be a unique tool that allows a deeper reading in what concerns the universe of Architecture. This art lives on an enviable freedom, since it is untied from the conditions required in the real world. As a result, filmed architecture gives us to see a gesture of architecture on man, closer to the real. It makes us see the feelings that spaces generate in people. In this sequence, this thesis aims to use cinema as a tool for observing and reading Architecture. The primary intention is to verify whether the filmmakers seek, or not, converging scenarios, to frame negative situations related to men (such as, for example, inhumane or oppressive); or to represent positive situations (such as situations of well-being, serenity, or joy). The work is developed based on a study of 158 dystopian films, which will observe situations that use the image of Traditional Architecture and Modern Architecture, to frame these mentioned situations. Subsequently, it is intended to understand which “lessons” in terms of architecture can be drawn in common from the films observed.
All art that defines a space for consummation touches on the domain of architecture, through the definition of materials, light and form, for example. This approach to the universe of Architecture is prominently felt in Cinema. Where the directors constantly project scenarios that embrace specific atmospheres, in order to better frame the desired actions that make up the film. Subsequently, the cinema proves to be a unique tool that allows a deeper reading in what concerns the universe of Architecture. This art lives on an enviable freedom, since it is untied from the conditions required in the real world. As a result, filmed architecture gives us to see a gesture of architecture on man, closer to the real. It makes us see the feelings that spaces generate in people. In this sequence, this thesis aims to use cinema as a tool for observing and reading Architecture. The primary intention is to verify whether the filmmakers seek, or not, converging scenarios, to frame negative situations related to men (such as, for example, inhumane or oppressive); or to represent positive situations (such as situations of well-being, serenity, or joy). The work is developed based on a study of 158 dystopian films, which will observe situations that use the image of Traditional Architecture and Modern Architecture, to frame these mentioned situations. Subsequently, it is intended to understand which “lessons” in terms of architecture can be drawn in common from the films observed.
Description
Keywords
cinema distopia atmosferas emoções arquitectura tradicional arquitectura moderna cinema dystopia atmospheres emotions traditional architecture modern architecture
Pedagogical Context
Citation
Publisher
Faculdade Arquitetura, Universidade Lisboa