Retórica, coreografia, ficção, ou a autonomia e subjectividade de uma cena. Japão 1961-1985

Abstract

This research analyzes the emergence, consolidation, and dispersion of a Japanese disciplinary scene between 1961 and 1985. This scene is defined by a rhizomatic network of works, architects, critics, and publications that, in response an economic, social, and cultural context, propose a conceptual reconfiguration of the single-family house as a disciplinary object. The thesis argues that this body of work constitutes a collective critical discourse, with the single-family house assuming the status of a disciplinary and cultural enunciation, surpassing its programmatic dimension. The study articulates the analysis and systematic cross-referencing of approximately eighty projects and texts by fourteen authors,with Kazuo Shinohara as the main point of reference. The content is presented through a chronological and argumentative structure,organized around the Four Styles defined by the central author,serving as an interpretive framework for the scene's production. The selection prioritizes the earliest critical expressions, contemporary to the works, collected from periodicals and monographs. The adopted methodology combines documentary analysis and critical interpretation. The author's analytical text is presented alongside images, drawings, and bibliographic sources, following a unified visual code. This operation enables horizontal readings across the various works and actors, revealing conceptual continuities and ruptures. The speculative and fictional dimension of the scene is emphasized,revealed through representational strategies, published narratives,and the silent actions of editors, photographers, and critics. The research argues that the scene's main production lies not in the built works themselves, but in their discursive choreography: the way in which the houses-and the ideas they embody-are represented,circulated, and interpreted. The thesis is structured as a critical construction in which the visible and invisible, and the factual and the speculative, are intertwined in order to understand a collective phenomenon.