Populism (I) | Óscar Tenreiro Degwitz

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I come dealing for certain time of the topic of the populism. Other times I have touched it, clarifying that I do not refer only to the political populism but to the populism in general. The architects the topic us concerns because if there is something that damages the general vision that is had of the architecture it is the populism.

This does not seem so to the hand for an European because in this cultural way the architecture is established well, but strictly between ourselves it uses as very active support to the argument of that the important thing is the minimal efficiency of the building and the architectural values. It becomes essential to satisfy the immediate need of the majorities though with it important values sacrifice themselves and between them the cultural contents of the architecture.

Populism (I) | oscartenreiro.com

But the populism has multiple faces. And as well as it reduces in name of a supposed efficiency also it amplifies and distorts in name of always wished popularity. That changes between dissimilar sites of the world. In such a way that in opulent companies the populism will express in a way seemingly opposite to the one that takes up office in impoverished companies. In the First World there can be done sustenance at the time of the architecture of the spectacle, bait for the majority taste, eager for brilliant and theatrical innovations. It disdains, also there, the cultural contents.

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Óscar Tenreiro

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Óscar Tenreiro Degwitz
Es un arquitecto venezolano, nacido en 1939, Premio Nacional de Arquitectura de su país en 2002-2003, profesor de Diseño Arquitectónico por más de treinta años en la Universidad Central de Venezuela, quien paralelamente con su ejercicio ha mantenido ya por años presencia en la prensa de su país en un esfuerzo de comunicación hacia la gente en general de los puntos de vista del arquitecto acerca de los más diversos temas, entre los cuales figuran los agudos problemas políticos de una sociedad como la venezolana. Tenreiro practica así lo que el llama el “pensamiento desde y hacia la arquitectura”, insistiendo en que lo hace como arquitecto en ejercicio, para escapar de los estereotipos y cautelas propios de la “crítica arquitectónica”. Respecto a la cual no oculta su desconfianza, que explica recurriendo al aforismo de Nietzsche sobre el crítico de arte “que ve el arte desde cerca sin llegar a tocarlo nunca”.

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