Esta tesis doctoral aborda el concurso de arquitectura como objeto de estudio acotado en un marco espacial y temporal: España, 1950-200X. Se propone como hipótesis de partida la idea de que el concurso de arquitectura opera como un imaginario sistémico a través de su difusión en las revistas profesionales. En este sentido, los concursos publicados constituyen un fragmento de la cultura arquitectónica muy significativo y, sin embargo, poco estudiado hasta la fecha, que permite observar sus dinámicas como espacios de acción y de influencia disciplinar, y, por tanto, posibilita reconstruir el relato asociado a dichas competiciones a través de sus editoriales. De manera general, los principales objetivos de la investigación son: completar y sistematizar el vacío de conocimiento específico en relación al tema; inventariar los concursos nacionales difundidos en las revistas periódicas de impacto de edición española (1950-200X); analizar los discursos en torno al concurso de los medios en correspondencia con sus políticas editoriales; relacionar su interés con el de las propias publicaciones que se hacen eco para analizar su instrumentalización; comprender las dinámicas del concurso como campo de producción cultural y evidenciar sus imaginarios. El estudio comienza con una primera aproximación teórica en la que el concurso de arquitectura se determina como objeto material y objeto formal de conocimiento, es decir, se expone el proceso histórico mediante el cual cristaliza como institución, y se realiza una aproximación a los distintos posicionamientos epistemológicos existentes en torno a este. De dicho acercamiento se extrae una metodología específica cuyo corpus de estudio lo constituye la difusión del concurso en las revistas profesionales. Estos principios metodológicos se han llevado a cabo según una lógica cuantitativa y cualitativa basada en la caracterización de cada medio y la selección de 100 casos de estudio -constituidos como ‘colección’- de entre el millar de concursos vaciados en los índices de más de 2.000 números de revistas. Los resultados de todo el material compilado y el procesamiento de sus datos se muestran de forma diagramática con el fin de objetivar la máxima información y caracterizar cada revista. Atendiendo a estas hipótesis, objetivos y metodología, la tesis doctoral queda compuesta por dos tomos que mantienen un vínculo indisoluble. El primero lo constituye el cuerpo del trabajo de investigación y, el segundo, la ‘colección’, es decir, su base documental. Dicha colección ha permitido construir un relato analítico transversal que, a modo de propuesta historiográfica y crítica, establece cuatro etapas diferenciadas según la instrumentalización del concurso en los medios: contiendas por la modernidad entre autarquía y desarrollismo (1950-196X); concursos como espacios de investigación para el aperturismo y la transición (196X-198X); convocatorias para los acontecimientos icónicos del cambio (198X-199X); competiciones como escenografías del espectáculo global (199X-200X). Finalmente, el epílogo cierra la tesis con unas breves conclusiones que enumeran las principales aportaciones de la investigación, así como sugerencias para sus futuros desarrollos. / This doctoral thesis explores the architecture competition as a delimited object of study within a spatial and temporal framework: Spain, 1950-200X. The starting hypothesis suggests that the architecture competition functions as a systemic imaginary through its dissemination in professional magazines. In this sense, the published competitions constitute a significant, yet understudied, fragment of architectural culture that allows observing their dynamics as spaces of action and disciplinary influence, and, consequently, enable the reconstruction of the narrative associated with these competitions through their editorials. In general, the main objectives of the research are: to fill and systematise the specific knowledge gap related to the topic; inventory national competitions disseminated in Spanish-language influential periodicals (1950-200X); analyse discourses surrounding competitions in the media in correspondence with their editorial policies; relate their interest to the publications themselves that echo them to analyse their instrumentalisation; understand the dynamics of the competition as a field of cultural production and highlight its imaginaries. The study begins with a theoretical approach in which the architecture competition is defined as both a material and formal object of knowledge, i.e., the historical process through which it crystallises as an institution is presented, and various epistemological positions around it are explored. A specific methodology is derived from this approach, with the corpus of the study being the dissemination of the competition in professional magazines. These methodological principles have been carried out through quantitative and qualitative logic, characterising each medium and selecting 100 case studies -constituting a ‘collection’- from the thousands of competitions listed in the indices of over 2,000 magazine issues. The results of the compiled material and the processing of its data are presented diagrammatically to maximise information objectification and characterise each magazine. In line with these hypotheses, objectives, and methodology, the doctoral thesis is composed of two volumes that are indissolubly linked. The first volume constitutes the body of the research work, and the second is the ‘collection’, i.e., its documentary basis. This collection has allowed the construction of a transversal analytical narrative that, as a historiographical and critical proposal, establishes four stages differentiated by the instrumentalisation of the competition in the media: struggles for modernity between autarky and developmentalism (1950-196X); competitions as research spaces for openness and transition (196X-198X); calls for iconic events of change (198X-199X); closed competitions as scenographies of the global spectacle (199X-200X). Finally, the epilogue concludes the thesis with brief conclusions listing the main contributions of the research, along with suggestions for its future development.

Questa tesi di dottorato ha l’obiettivo di analizzare i processi attraverso cui individui ed organizzazioni costruiscono la loro posizione e la loro valutazione nel contesto di field istituzionali culturali e creativi. La tesi contiene tre capitoli che rappresentano tre distinti lavori di ricerca. Le analisi empiriche svolte sono incentrate sui settori del cinema (primo capitolo), della quality television (televisione ‘di qualità’, serie televisive) e della musica indipendente negli Stati Uniti. In tutti i lavori di ricerca sono stati utilizzati database longitudinali e metodi quantitativi e qualitativi. Nel primo capitolo, si analizza come gli scandali personali (di natura sessuale e non sessuale) influenzino la costruzione della peer recognition. Si prendono anche in considerazione gli effetti degli stereotipi legati al genere e dei comportamenti orientati alla valorizzazione delle diversità (solidarietà femminile), per comprendere come questi influiscano sulla peer recognition, insieme agli scandali, nell’ambito della valutazione degli attori di Hollywood (candidatura all’Oscar), nel lasso temporale 2003-2018. Nel secondo capitolo, viene teorizzato il processo di nascita e di consolidamento di un field interstiziale (interstitial issue field), attraverso l’analisi del caso del field nato tra la musica indipendente e la quality television negli Stati Uniti, dal 2003 al 2018. Si delineano le caratteristiche della infrastruttura istituzionale del field emerso, si definisce il ruolo lavoro degli attori istituzionali (institutional work) e degli spazi interstiziali (interstitial spaces). Nel terzo capitolo, i field istituzionali della musica indipendente e della quality television sono ulteriormente esaminati, tra il 2013 e il 2018, attraverso una indagine della collaborazione tra i due field, nell’ utilizzo di un album indipendente nella soundtrack di episodi di una serie televisiva. La ricerca mira a comprendere gli effetti della collaborazione sulla valutazione di un prodotto del field della musica indipendente (album indipendenti) che collabora con un field più ‘commerciale’ (quality television). / This doctoral thesis aims at shedding light on the processes by which individuals and organizations negotiate their structure, position, and evaluation, within the context of creative and cultural fields. It contains three chapters that represent three research studies. The empirical analyses undertaken throughout the research pieces are focused on the fields of cinema (first chapter), quality television, and independent music (second and third chapter) in the United States. For all of them, longitudinal databases are employed, and both quantitative and qualitative methodologies are utilized. In the first chapter, the role of personal (sexual and non-sexual) scandals for peer recognition is investigated. The research focuses on how scandals, gender stereotypes, and engagement in diversity-valuing behaviors (female solidarity) affect peer recognition for Hollywood actors (nomination of actors for an Oscar), in the time frame 2003-2018. In the second chapter, the process of emergence and consolidation of an interstitial issue field is theorized, by exploring the case of the field that emerged between indie music and the quality television in the United States from 2003 to 2018. In the analysis, the features of the institutional infrastructure of the emerged field, with the role of institutional actors and of interstitial spaces, are taken into consideration. In the third chapter, the fields of independent music and quality television in the US are further examined, between 2013 and 2018, by focusing on the patterns of evaluation of one field’s products (independent music, independent albums) when this field interacts with the other (quality television) – that is, when independent albums are featured in quality television episodes.