Scribd Logo
Upload

Welcome to Scribd!

  • 34 Tema9 Starr

    Uploaded by

    abenorth
    12 views14 pages
    The psychological concept of the uncanny as something that is strangely familiar, rather than just mysterious,[1] was perhaps first fixed by Sigmund Freud in his essay Das Unheimliche.[2][3] Because the uncanny is familiar, yet incongruous, it has been seen as creating cognitive dissonance within the experiencing subject, due to the paradoxical nature of being simultaneously attracted to yet repulsed by an object. This cognitive dissonance often leads to an outright rejection of the object, as one would rather reject than rationalize, as in the uncanny valley effect.

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    The psychological concept of the uncanny as something that is strangely familiar, rather than just mysterious,[1] was perhaps first fixed by Sigmund Freud in his essay Das Unheimliche.[2][3] Because the uncanny is familiar, yet incongruous, it has been seen as creating cognitive dissonance within the experiencing subject, due to the paradoxical nature of being simultaneously attracted to yet repulsed by an object. This cognitive dissonance often leads to an outright rejection of the object, as one would rather reject than rationalize, as in the uncanny valley effect.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    12 views14 pages

    34 Tema9 Starr

    Uploaded by

    abenorth
    The psychological concept of the uncanny as something that is strangely familiar, rather than just mysterious,[1] was perhaps first fixed by Sigmund Freud in his essay Das Unheimliche.[2][3] Because the uncanny is familiar, yet incongruous, it has been seen as creating cognitive dissonance within the experiencing subject, due to the paradoxical nature of being simultaneously attracted to yet repulsed by an object. This cognitive dissonance often leads to an outright rejection of the object, as one would rather reject than rationalize, as in the uncanny valley effect.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 14
    ura expresioniste ‘QUADERNS ‘alemane: el periodo formative Cormen Bernardez y Maria Corral ‘The Development of German Expr 198 Pointing: The Formative Period ie Abel 17 El constructivismo teatral a lune Julio Agosto 27 Estructura y constructivismo a Robert Brufou y Agusti Obial eaten Structure and Constructivism . rl 36 Konstantin Melnikov: lo cos@del arquitecto May Frederick Store, dune Konstantin Melnikov: The Architect's House July August 48 Cubismo bohemio September Vladimir Slopet Bohemian Eubism 1986 56 Estacién de altos de esqui Jif Spikla, Joromin Syrovateo, Ji Prskavec, Jon Suchanek Ski-Jump Resort 64 Agencia boncerie ‘alvero Siza Vieira Bonk Building 76 Entrevista o Alvaro Siza Viei Realizade por Marta Cervello Interview with Alvere Size Vieira 90 Me gustaria constuir. Alvaro Siza Viera should like to build, 92 Reforma de una agencia bancoria Josep Antoni Linas Alterations to @ Bank 94 Sicomo creo... Josep Anton Lines Wor | believe 99 Biblioteca Publica Josep Antoni Linas Public Library 102 Casa tt Eduardo Souto da Moure House i 106 Erase une ver... Victor Uspez Coielo ‘Once upon a time. 106 108 Ayuntomi Vieior Lopez Cotelo y Town Hall in Valdelaguna wm Konstantin Mel la casa del arquitecto or Frederick STARR nunacalle ranquila de Mose, tra a destartalada verja de un patio invadi- do por la hiedra y los arbustos, se alzan perennemente desconchados, los ‘muros de un, sin embargo, imponente edifici, tan insélito hoy en dia co- mo en 1927, cuando fue diseBiado por Constantin Melnikov, su propieta- rio y arquitecto, Su concepcién basica no puede ser més sencilla. Dos cilindros de idéntico difmetro, pero de diferente altura, se abren en un cuarto de circunferencia de tal forma que les permite interpenetrarse. En el area de superposicién se sitia una escalera de caracol que conecta los tres pisos. El comedor, el dormitorio y las Sreas de servicio se con- centran en Ia planta baja y en la mitad trasera del primer piso que tiene un techo bajo.’ El resto del primer piso y del amplio segundo piso estan libres de cualquier tabique, formando asitun gran salén y taller, a doble altura, La impresionante fachada consiste en tres pisos com- pletos de paneles enmarcados por bajas pilastras. El efecto es extraordinariamente limpio y ddespejado. La elésica simetria que empieza en esta fachada se extiende a través del plano a la totalidad de la estructura, Un eje que une la parte posterior con la parte anterior ordena los espacios interiores tan puleramente como los numerosos edificios clisicos que Melnikov he- bia estudiado cuando era estudiante en Mosed. Sin embargo, este orden bisico lo alteran deli beradamente varios elementos. En primer lugar, el comedor de la planta baja atraviesa oblicuamente el eje y no se sitiia a lo largo de él, Por otro lado, la escalera en forma de espiral cemplazada a un lado del Area de confluencia entre los dos cilindros rompe nuevamente la si- ‘metria, obligando al visitante a confrontar cada una de las habitaciones principales, oblicua- ‘mente en vez de frontalmente. Por tiltimo, la enfatizaciin de unas virtuales diagonals, fruto, visual de la exageracién con la que son tratadas las pilastras del segundo cilindro, coronadas ‘con chimeneas esculpidas de modo expresionista, contribuye a conseguir el definitivo efecto dramitico. Asi, dos cilindros estables quedan transformados en formas cuyo dinamismo se impone por si mismo, incluso a los ojos del observador més pasivo. Evidentemente la casa de Melnikov fue disefiada y ejecutada sin ningiin compromiso. Esto fue posible porque Melnikov era su propio jefe, inspector y contratista al mismo tiempo. Co: 36 Konstantin Mslikov: The Archies House ep Morse bk es fi Iaping ence of crear vergows ieenelieierenet ects Feeling walls ol a there Impose Fuso soning oy 8a 8 TBE? when was designe by ower 2nd shite, Koma Menor Te basc consi oul a be si skowre gid ealiieesrc {pune or oe ater thei ct ees inecin repssar percent tolmepenctae Wahine aa onc Inpepced spl inact connese thors Eating sping ad scorer are concent onthe ound he fin oor, Theron oth First flon ap she age eon hrs gar mel by ow Pace? The ear exon iced he eel spc snes Ada Spacey Ts usher by acne Treats ol and ‘ontoin Mein 1972 ot the Age of 82. 38 ingove his ngs bison ‘onal pil the ce co of enna Singtel 2003 ous The soled New Economic Pali, ne ‘iw in 92, deirdre owedip nce sey tng Re ‘Sted ccign capitals totake sand smanaing essary weal ance Io allowed pope to ld Enlovs prise dweings tra ean of ere ees eee een Savarese picey artes Davee eee en a areca tat mo si sintiera un placer maligno por este hecho, grabé su nombre «Konstantin Melnikov Arquitecto»— en grandes letras a través de la fachada, transgrediendo el espiritu colectivista del momento. En efecto, Melnikov pagé personalmente el coste total dela construccién de la casa cilin-

    You might also like