A Anamorfose em Arquitectura: do conflito perceptivo à experiência prática

Abstract

This dissertation appear from the will of creation and experimentation of the real efects of the use of illusion in architecture, focusing specifically on one kind of illusions and perspective: the anamorphose. This curious perspective, as called by Niceron (in his manuspcript ''La Perspective curieuse ou magic artificielle des effets merveilleux'' of 1638), is constituted by formal deformation previously determined, fixed when seen from a specific point of view. in this quest for the right framework, the individual's space perception is manipulated, highlighting the contingencies of the human's cognitive sistem, in his relationship with the space. Through the understanding of the visual pyramid's fundamentals, it is shown here a practical exercice about phenomenology in architecture, where the body sences are challanged. This work tells the process of criation and aplication of anamorphose in urban space, exploring new kinds of space sensations, playing with expectations and contradictions, reality and apearence. Structurally, the work is organized in 4 parts: I - introduction, II - tools, III - products, IV - conclusion. The first part introduces the generic theme of this dissertation, about the use of illusion serving architecture. It is also made a more detailed description of the motives and structure of this work. The second, about the working tools, consists in two chapters: about human perception and perspective. Is a theoric investigation about human perception and it's manipulation. From a generic point of view, it looks over about optical illusions, Gestalt principles and other perceptual conflicts. It focus on the construction of illusions at service of architecture, based on linear perspective and visual pyramid derivations, like acelerated perspective or conter-perspective. Through the analysis of a study cases selection, it is shown the causes and effects of space illusions with significance in the History of architecture. The third part - the products - is meant to be exclusivelly to anamorphose, also, a perspective derivation. It is shown the practical experiences, fundamental to a more complete knowledge to the theme, consolidating and applying the theorical investigation's teachings. It is explored differents aproaches, in shape and methodology, from the creative process, to its final production - not without first presenting an historical contextualization of the relationship between Anamorphose and Architecture. To that report, it follows a final and personal comment - Part IV - where it is analysed the contribute of the interventions, not only to the relationship between the individual and the space, but also to the city itself. It concludes how the interventions, although ephemeral, transformed the quality of the selected space, empowering new kinds of relations. The viewer is assumed as the main character, active and decisive on the construction of the illusion. In a ''learning through playing'' way, this experiences seek to be a spacial game, stimulanting visual curiosity, encouraging the thinking and discution about space.