Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O estudo desenvolvido nesta Tese de Doutorado trata da análise crítica da estética dos conceitos: forma, tectônica, funcionalidade, semiótica e afetuosidade, no âmbito da arquitetura, no programa de museus de arte contemporânea e centros culturais. Os museus de arte contemporânea e centros culturais, estudos de caso, selecionados para nossa Tese de Doutorado foram inaugurados na década de 1990. Como segue: Centro Cultural Jean-Marie Tijibaou (Nova Caledônia, França), de Renzo Piano; Museu de Arte Contemporânea de Naoshima (Japão), de Tadao Ando; Museu Guggenheim Bilbao (Espanha), de Frank O. Gehry; Museu de Arte Contemporânea Fundação Serralves (Portugal), de Álvaro Siza Vieira; Museu de Arte Contemporânea de Niterói (Brasil), de Oscar Niemeyer; Fundació Museu d'Art Contemporani de Barcelona (Espanha), de Richard Meier; Museu de Arte Contemporânea Carré d'Art de Nimes (França), de Norman Foster; Museu de Arte Contemporânea de Lyon (França), de Renzo Piano; Centro Cultural Consonni (Espanha), ausência de um arquiteto autor do projeto. Tanto os estudos de caso como os arquitetos, autores dos projetos, são considerados de destaque no panorama da arquitetura internacional erudita contemporânea. Os teóricos que forneceram a fundamentação conceitual deste estudo multidisciplinar são, em primeiro lugar, o Professor Catedrático Luiz Felipe Baêta Neves Flores (Transdisciplinaridade) além da Professora Catedrática Maria Luisa Amigo Fernández de Arroyabe (Ócio Estético) e ainda, os também importantes, Manuel Cuenca Cabeza (Ócio Humanista), Charles Jencks e Gonçalo Miguel Furtado Cardoso Lopes (Crítica de Arquitetura), Jesús Pedro Lorente, Chris van Uffelen e Roberto Segre (Museus de Arte Contemporânea). / The study developed in this Thesis Doctoral presents a critical and aesthetics analysis of the concepts: form, tectonic, functionality, semiotic and affectivity, in view the rchitecture, in the contemporary art museums and cultural centers program. The contemporany art museums and cultural centers, case's studies, selected for our Thesis Doctoral were opened during the years ninety, as follows: Jean-Marie Tijibaou's Cultural Center (New Caledony, France), of Renzo Piano; Naoshima's Contemporary Art Museum (Japan), of Tadao Ando; Bilbao's Museum Guggenheim (Spain), of Frank O. Gehry; Foundation Serralves' Contemporary Art Museum (Portugal), of Álvaro Siza Vieira; Niterói's Contemporary Art Museum (Brazil), of Oscar Niemeyer; Barcelona's Fundació Museu d'Art Contemporani (Spain), of Richard Meier; Nimes' Contemporary Art Museum Carré d'Art (France), of Norman Foster; Lyon's Contemporary Art Museum (France), of Renzo Piano; Consonni's Cultural Center (Spain), absent an architect author of project. The case's studies as well as the architects, authors of the projects, are outstanding in the international theoretical panorama of contemporary architecture. The theorists who have offered the fundamental conceptual for this multidisciplinary study are mainly the Full Professor Luiz Felipe Baêta Neves Flores (Transdisciplinarity), the Full Professor Maria Luisa Amigo Fernández de Arroyabe (Aesthetics Leisure) and also the equally important Manuel Cuenca Cabeza (Humanist Leasure), Charles Jencks and Gonçalo Miguel Furtado Cardoso Lopes (Critical Architecture), Jesús Pedro Lorente, Chris van Uffelen and Roberto Segre (Contemporary Art Museums).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O estudo desenvolvido nesta Tese de Doutorado trata da análise crítica da estética dos conceitos: forma, tectônica, funcionalidade, semiótica e afetuosidade, no âmbito da arquitetura, no programa de museus de arte contemporânea e centros culturais. Os museus de arte contemporânea e centros culturais, estudos de caso, selecionados para nossa Tese de Doutorado foram inaugurados na década de 1990. Como segue: Centro Cultural Jean-Marie Tijibaou (Nova Caledônia, França), de Renzo Piano; Museu de Arte Contemporânea de Naoshima (Japão), de Tadao Ando; Museu Guggenheim Bilbao (Espanha), de Frank O. Gehry; Museu de Arte Contemporânea Fundação Serralves (Portugal), de Álvaro Siza Vieira; Museu de Arte Contemporânea de Niterói (Brasil), de Oscar Niemeyer; Fundació Museu d'Art Contemporani de Barcelona (Espanha), de Richard Meier; Museu de Arte Contemporânea Carré d'Art de Nimes (França), de Norman Foster; Museu de Arte Contemporânea de Lyon (França), de Renzo Piano; Centro Cultural Consonni (Espanha), ausência de um arquiteto autor do projeto. Tanto os estudos de caso como os arquitetos, autores dos projetos, são considerados de destaque no panorama da arquitetura internacional erudita contemporânea. Os teóricos que forneceram a fundamentação conceitual deste estudo multidisciplinar são, em primeiro lugar, o Professor Catedrático Luiz Felipe Baêta Neves Flores (Transdisciplinaridade) além da Professora Catedrática Maria Luisa Amigo Fernández de Arroyabe (Ócio Estético) e ainda, os também importantes, Manuel Cuenca Cabeza (Ócio Humanista), Charles Jencks e Gonçalo Miguel Furtado Cardoso Lopes (Crítica de Arquitetura), Jesús Pedro Lorente, Chris van Uffelen e Roberto Segre (Museus de Arte Contemporânea). / The study developed in this Thesis Doctoral presents a critical and aesthetics analysis of the concepts: form, tectonic, functionality, semiotic and affectivity, in view the rchitecture, in the contemporary art museums and cultural centers program. The contemporany art museums and cultural centers, case's studies, selected for our Thesis Doctoral were opened during the years ninety, as follows: Jean-Marie Tijibaou's Cultural Center (New Caledony, France), of Renzo Piano; Naoshima's Contemporary Art Museum (Japan), of Tadao Ando; Bilbao's Museum Guggenheim (Spain), of Frank O. Gehry; Foundation Serralves' Contemporary Art Museum (Portugal), of Álvaro Siza Vieira; Niterói's Contemporary Art Museum (Brazil), of Oscar Niemeyer; Barcelona's Fundació Museu d'Art Contemporani (Spain), of Richard Meier; Nimes' Contemporary Art Museum Carré d'Art (France), of Norman Foster; Lyon's Contemporary Art Museum (France), of Renzo Piano; Consonni's Cultural Center (Spain), absent an architect author of project. The case's studies as well as the architects, authors of the projects, are outstanding in the international theoretical panorama of contemporary architecture. The theorists who have offered the fundamental conceptual for this multidisciplinary study are mainly the Full Professor Luiz Felipe Baêta Neves Flores (Transdisciplinarity), the Full Professor Maria Luisa Amigo Fernández de Arroyabe (Aesthetics Leisure) and also the equally important Manuel Cuenca Cabeza (Humanist Leasure), Charles Jencks and Gonçalo Miguel Furtado Cardoso Lopes (Critical Architecture), Jesús Pedro Lorente, Chris van Uffelen and Roberto Segre (Contemporary Art Museums).

This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence. / Space, Power, Ideology