Arquitectura Kitsch

Abstract

This work seeks to understand, through history, interpretations of various authors and a travel book prepared by the candidate, the Kitsch phenomenon that, over time, has invaded architecture. The history of Kitsch is also a construction and, as such, may have more classic or eclectic moments, more constructive or ! gurative moments, with successes and failures. The term Kitsch appeared for the ! rst time connected to the decoration area, in Munich, around 1860, and quickly became a phenomenon that covered all artistic areas. It s an eclectic art that grew up with the rampant consumerism. It vulgarized the arts , in that there no longer exists exclusivity or singularity. It broke down barriers between beautiful and ugly , between good and bad taste , and created the modern illusion that beauty can be bought and sold. It draws, not only in the great times of antiquity, but also on avant-garde, to form objects that could attract the masses. It is linked to the question of taste that is a variable, therefore function doesn t have an important role in designing forms. Kitsch is considered aesthetically inadequate in the art world, because it is taken for false art . If in art there s a truth , an opinion from the artist, Kitsch seeks to provoke reactions using, for that matter, the arts semblance . Kitsch appears as a phenomenon that simulates stylized models present in the memory of man, for their emotional reaction. Modern architects like Josef Frank or Bruno Zevi, are of the opinion that all work should border Kitschs concept. Kitsch, as simulator of effects, is linked to sentimentality, showing that, in a way, it is a bond in the connection between individual and space. As Zevi once wrote, the success of modern architecture is in the open work , where participation is fundamental. In this context, the concept of Kitsch would not be understood without the travel book where, all over the country, were collected case studies that ! t the phenomenon. The result illustrates that Kitsch is not only a matter of taste , but also the projection of the owner and the images which he identi! es with.