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Arquitetura e fotografia: Por uma compreensão da dimensão do sensível no espaço arquitetónico
| Name: | Description: | Size: | Format: | |
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| 38.68 MB | Adobe PDF |
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Advisor(s)
Abstract(s)
A Câmara Fotográfica atua como uma extensão e amplificação do olhar,
proporcionando uma análise que transcende a perceção imediata. Entre a aquisição
mecânica da imagem e uma visão atenta e contemplativa, estabelece-se um território
fértil, onde o/a autor/a pode construir a sua própria diegese visual.
Ao captar simultaneamente o real e o irreal, o tangível e o imaginado, a fotografia pode
revelar camadas ocultas do espaço arquitetónico, permitindo a sua reinvenção através
da subjetividade. Esta dualidade, longe de se reduzir a um gesto meramente visual,
visa fortalecer profundamente a prática arquitetónica a fim de introduzir a perceção
como matéria de projeto. Procura-se a evocação e a narrativa: o real pode ser
convocado enquanto corpo físico, já o irreal está ancorado na intuição como
orientação da experiência espacial. É viável pensar e explorar a fotografia como um
instrumento para a desmaterialização do espaço, e como meio para a sua ampliação.
Dar projeção ao tempo, à memória, e à luz e sombra como elementos projetuais.
Assim, através da inquietação entre o visível e o que se insinua, quem projeta, pode
contribuir para um pensamento espacial que, para além da sua função programática,
acolhe a imaginação e modos de habitar. Ao desafiar os métodos convencionais de
olhar e de produção de reflexão é possível contribuir para um aprofundamento crítico
da arquitetura, como também para a transformação do gesto de pensamento: o
espaço como experiência, memória e narrativa.
The camera acts as an extension and amplification of the gaze, providing an analysis that transcends immediate perception. Between the mechanical acquisition of the image and an attentive and contemplative vision, a fertile territory is established, where the author can construct their own visual diegesis. By simultaneously capturing the real and the unreal, the tangible and the imagined, photography can reveal hidden layers of architectural space, allowing for its reinvention through subjectivity. This duality, far from being a merely visual gesture, aims to profoundly strengthen architectural practice in order to introduce perception as a part of the project. Evocation and narrative are sought: the real can be identified as a physical body, while the unreal is anchored in intuition as a guide to spatial experience. It is feasible to think of and explore photography as an instrument for the dematerialization of space and as a means of its expansion. To give projection to time, memory, and light and shadow as design elements. Thus, through the uneasiness between what is visible and what is perceived, those who design can contribute to a spatial thinking that, beyond its programmatic function, welcomes imagination and ways of inhabiting. By challenging conventional methods of looking and the process of reflection, it is possible to contribute to a critical deepening of architecture, as well as to the transformation of the gesture of thought: space as experience, memory, and narrative.
The camera acts as an extension and amplification of the gaze, providing an analysis that transcends immediate perception. Between the mechanical acquisition of the image and an attentive and contemplative vision, a fertile territory is established, where the author can construct their own visual diegesis. By simultaneously capturing the real and the unreal, the tangible and the imagined, photography can reveal hidden layers of architectural space, allowing for its reinvention through subjectivity. This duality, far from being a merely visual gesture, aims to profoundly strengthen architectural practice in order to introduce perception as a part of the project. Evocation and narrative are sought: the real can be identified as a physical body, while the unreal is anchored in intuition as a guide to spatial experience. It is feasible to think of and explore photography as an instrument for the dematerialization of space and as a means of its expansion. To give projection to time, memory, and light and shadow as design elements. Thus, through the uneasiness between what is visible and what is perceived, those who design can contribute to a spatial thinking that, beyond its programmatic function, welcomes imagination and ways of inhabiting. By challenging conventional methods of looking and the process of reflection, it is possible to contribute to a critical deepening of architecture, as well as to the transformation of the gesture of thought: space as experience, memory, and narrative.
Description
Keywords
Arquitetura Fotografia Interpretação Luz e Sombra Perceção Reprodução