| dc.description.abstract | The present dissertation begins clarifying the term visionary architecture, which denominates a discipline genre focused on the design of inconstructible projects, intending to establish a critical positioning from the creation of imaginary, fictitious or fantastic spaces. Its purpose is to develop criticism to status quo and to architecture itself, as well as offering other possibilities for space creation that go beyond the restrictive limit of reality. As key examples, have been exposed and investigated the works of contemporary architects who chose to project in conjunctures of crisis and trauma, such as Lebbeus Woods in Underground Berlin and Berlin Free-Zone, shortly after the fall of the wall in the German capital, and in post-siege projects in Sarajevo, as well as NaJa & DeOstos in The hanging cemetery of Baghdad and Pregnant Island, developed in the context of the Tucuruí reserve flood. To reach these works, a brief historical review of previous visionary architecture was made, passing through three relevant architects of their historical periods: Piranesi and the Carceri series in the eighteenth century, SantElia and the Futurist Manifesto in the early twentieth century and the Archigram group in the resumption of utopias in the sixties counterculture. Soon after, a criticism was made about the authority and the dimensional reduction of conventional architectural representation, and a presentation of visionary architecture as a gateway to other types of representation that seek the autonomy of the user and the participation of the interlocutor in the interpretation of space. For that, a narrative was also elaborated on the creative process of the author about conception and representation of a futuristic city, in an oriented workshop. Also, an analysis of the contemporary socio-spatial conjuncture that conditioned the spatial production, and of the academic tendencies that in the eighties rejected critical architecture and returned to the idea of utopias (in the sense of Karl Mannheim) and the theory as critical instruments in the last two decades. | |
