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Abstract(s)
Cada indivíduo tem a sua própria perceção do mundo. Já na Grécia Antiga podiam ser
observados estudos sobre a interpretação da realidade, em que se teorizava sobre a dualidade do corpo e da mente. Nestes estudos, os filósofos perguntavamse sobre o que
caracterizava verdadeiramente a realidade: estaria o valor «real» nos objetos, ou na interpretação dos mesmos por parte do sujeito? Nesta dicotomia encontrase a primeira
pista do «conflito» existente no processo de criação de «formas» e de como este molda a
maneira como organizamos e interpretamos o mundo.
O «conflito da forma» é um processo que merece ser aprofundado para melhor entendermos as formas espaciais do mundo arquitetónico. A interpretação do mundo é composta
por forças percetivas, que fazem uma ponte entre o «sujeito» e «objeto», na qual a tendência para a «ordem» origina um equilíbrio entre forças opostas que respondem com
uma «configuração» ou «forma». Conceitos como «cheio» e «vazio», «vertical» e «horizontal», «grande» e «pequeno», «escuro» e «claro», ou até texturas ou diferentes experiências sonoras, são exemplos desta abordagem dicotómica feita pelo subconsciente, que
está constantemente a fazer medições e julgamentos no «espaço» através da comparação
de opostos, de modo a «organizar o espaço».
A presença do sujeito distingue a Arquitetura das outras Artes que, senso que o seu olhar
dinâmico percorre o espaço e descobre o objeto pelas relações criadas com todos os elementos. Mas o «contraste» na Arquitetura vai para além do plano visual e pode ser encontrado no plano da ação. Apesar de ser necessário um escrutínio mais exigente ao observador e depois desta cumprir eficazmente a sua função cívica, é conferida à Arquitetura
a sua «extradimensionalidade», que a solidifica como a verdadeira «arte do espaço».
Perceber como a «forma» surge e como as «dicotomias» e o «contraste» são a base da
análise do objeto arquitetónico, permite, por fim, consciencializar o Arquiteto dos processos que influenciam as suas escolhas. Este trabalho revela um lado teórico subconsciente presente em várias áreas de estudo e ramos do conhecimento que, quando tornados
conscientes, permitem desenvolver novos métodos de análise ou crítica, assim como aprimorar formações previamente adquiridas.
Each individual perceives the world in their own way and studies on the interpretation of reality were constantly made throughout time. Philosophers in Ancient Greece even theorized about the “duality of body and mind” in order to understand the meaning of reality. Would the answer be in the objects themselves, or is our direct relation and acknowledgement of these objects what defines reality? Within this dichotomy we find the first clue to the conflict of form that shapes our understanding of the perceivable orderly world. Perception relies on the interpretation made by the brain, so to understand what we deem as real, first, we must understand what unconscious influences seem to guide our mental interpretation to create such assessments of the world and, secondly, why do certain forms transcend into the higher status we call Art. By creating a basic knowledge about the interpretation of stimuli by the human mind we set out to establish a strong foundation to steer this dissertation. The unknown world presents itself as real because we create ways (i.e. forms) to deal with all the information we are permanently being bombarded with that isn’t naturally logical. This shaping of one’s reality is born from a conflict between one’s knowledge and the outside independent object. ”To formalize”is to find an equilibrium between two opposing forces and while learning about the process of formalization by dissecting how the brain organizes and attributes meaning we can find that dichotomy and contrast are the main factors in our understanding of reality. This dichotomic approach to how we perceive is also present in the spatial studies. Our subconscious regulates and gauges space by mediating the conflict between concepts to create a sense or order, which encompasses concepts such as empty and full, vertical and horizontal, different scales, multiples colours and its relations, light and shadow, or even textures. The difference between Architecture and other art forms is that the former presents the subject as an integral part of the work and forces him to intervene in order fulfill its function. The contrast in Architecture goes well beyond the visual plane and it can be seen in the action plane, where its observation can’t be made directly by the senses and needs further introspection and analysis to become discernable. This dissertation tries to merges concepts, observations and sensations into one and is receptive to the approach that every Form be it visual, philosophical, spatial or even abstract has the same basis and thus the same constraints of interpretation regardless of its medium, for there are many truths and everything, everywhere, is a construction of our minds while dealing with the all that is unknown. There is no right or wrong there only is.
Each individual perceives the world in their own way and studies on the interpretation of reality were constantly made throughout time. Philosophers in Ancient Greece even theorized about the “duality of body and mind” in order to understand the meaning of reality. Would the answer be in the objects themselves, or is our direct relation and acknowledgement of these objects what defines reality? Within this dichotomy we find the first clue to the conflict of form that shapes our understanding of the perceivable orderly world. Perception relies on the interpretation made by the brain, so to understand what we deem as real, first, we must understand what unconscious influences seem to guide our mental interpretation to create such assessments of the world and, secondly, why do certain forms transcend into the higher status we call Art. By creating a basic knowledge about the interpretation of stimuli by the human mind we set out to establish a strong foundation to steer this dissertation. The unknown world presents itself as real because we create ways (i.e. forms) to deal with all the information we are permanently being bombarded with that isn’t naturally logical. This shaping of one’s reality is born from a conflict between one’s knowledge and the outside independent object. ”To formalize”is to find an equilibrium between two opposing forces and while learning about the process of formalization by dissecting how the brain organizes and attributes meaning we can find that dichotomy and contrast are the main factors in our understanding of reality. This dichotomic approach to how we perceive is also present in the spatial studies. Our subconscious regulates and gauges space by mediating the conflict between concepts to create a sense or order, which encompasses concepts such as empty and full, vertical and horizontal, different scales, multiples colours and its relations, light and shadow, or even textures. The difference between Architecture and other art forms is that the former presents the subject as an integral part of the work and forces him to intervene in order fulfill its function. The contrast in Architecture goes well beyond the visual plane and it can be seen in the action plane, where its observation can’t be made directly by the senses and needs further introspection and analysis to become discernable. This dissertation tries to merges concepts, observations and sensations into one and is receptive to the approach that every Form be it visual, philosophical, spatial or even abstract has the same basis and thus the same constraints of interpretation regardless of its medium, for there are many truths and everything, everywhere, is a construction of our minds while dealing with the all that is unknown. There is no right or wrong there only is.
Description
Keywords
Conflito Contraste Dicotomia Forma Perceção