O trabalho consiste na análise dos projetos de Lina Bo Bardi que incorporam construções preexistentes, mais especificamente a obra do Sesc Fábrica da Pompeia (1977 - 1986), em que a arquiteta reúne as reflexões que a levaram a manter antigas estruturas, a partir de um processo projetual que, apesar de suas referências, mostra-se autônomo. As ideias sobre \"presente histórico\" e cultura popular, e suas vivências, tanto na Itália como no Brasil, determinam uma postura aparentemente independente do Movimento Moderno e, em especial, da arquitetura da Escola Paulista. Apesar de compartilhar ideais próximos aos dessa escola, os princípios morfológicos adotados por Lina Bo Bardi para atingi-los são opostos, justamente por considerarem a preexistência. Faz-se uma analise comparativa entre esses procedimentos projetuais, levando-se em conta que, no período da construção do Sesc Pompeia, novas visões acerca da relação entre projeto e cidade começavam a ser levantadas. / The work consists of the analysis of the projects of Lina Bo Bardi that incorporate constructions The works of the SESC Pompeii Factory (1977 - 1986), in That the architect brings together the reflections that have led her to maintain old structures, from a Design process that, despite its references, shows itself to be autonomous. The ideas about \"Historical present\" and popular culture, and their experiences, both in Italy and in Brazil, An apparently independent stance of the Modern Movement, and in Architecture of the Escola Paulista. Despite sharing ideals close to those of School, the morphological principles adopted by Lina Bo Bardi to reach them are opposites, Precisely because they consider the preexistence. A comparative analysis is made between these Procedures, taking into account that, during the period of construction of the Sesc Pompeii, new visions about the relationship between project and city were beginning to be raised

Beginning with its historical setting, architectural discourse conceived city as its ultimate object, as the ultimate extension of the composition: the largest building. It relentlessly aimed to link its &ldquo / pure&rdquo / object&mdash / building&mdash / to the city either by locating the two within the general processes of material production or through analogies. Yet, despite such continuity, architecture&rsquo / s relationship with the city was conceived as the projection of an internal economy onto the city and remained unilateral. Architecture operated from the small scale to the large scale, radiating its &lsquo / specificity&rsquo / through the city via building. It became obvious in the late 20th century that it was not the &lsquo / architectural specificity&rsquo / to penetrate into modern metropolis but vice versa. Being a complex agglomeration of cultural systems&mdash / including design itself&mdash / metropolitan multiplicity resists the determination of significance of built environment through the specific codes of any institutionalized practice. Acknowledging such a complex system of relationships, namely &ldquo / metropolitan non-design,&rdquo / this study offers a reassessment of &lsquo / architectural design&rsquo / within the contemporary &lsquo / metropolitan condition.&rsquo / Departing from the disjunction(s) between the significance attributed through design and its appropriation through metropolitan non-design, work at hand aims to elaborate a new mode of &lsquo / architectural intervention&rsquo / compatible with the metropolitan instability. Through a cross-examination of Rem Koolhaas&rsquo / s &lsquo / Delirious New York&rsquo / and OMA&rsquo / s &lsquo / Parc de la Villette,&rsquo / concepts such as &lsquo / program,&rsquo / &ldquo / void,&rdquo / &ldquo / Bigness&rdquo / and &lsquo / architectural scale&rsquo / will be reassessed. Moreover, the goal is to replace the conception of architecture-metropolis relationship that is formulated through a duality with one that is conceived in terms of interacting, contiguous signifying structures.

Ankara has experienced a radical transformation after 1950s, in which the identity of the highly planned capital has been erased, emphasizing homogenization, blankness and similarity. The Apartment Block was the object of this condition and the subject of the transformation in the urban identity, both with its physical existence and with the mind-set it has radiated to the whole levels of the society. It has stripped out the identity of the city with its &quot / endless reproduction.&quot / This transformation has led the Apartment Block to be accused of transforming Turkish cities to deformed agglomerations, deprived of aesthetics. In this sense, architectural discipline has been criticized for its impotence to respond the economical, social and cultural conditions that traverse the urban setting. This criticism has questioned the generative role of architecture in the Early Republican period as a social engineering and discouraged any relation between architecture and the city, which has manifested the reduction of the architecture to a formal discipline. Ankara, with its dazzling transformation within few decades proposed its own urbanism and its own architecture, with the mutation of the Apartment Block first to a resilient frame than to a multi-programmed infrastructure. This study will consider this transformation as &amp / #8216 / another&amp / #8217 / manifestation of a new kind of urbanism that was mainly declared by Rem Koolhaas and OMA, claming that the resilient and neutral objects are the dominant and extensive forms of the contemporary urbanism. Hence, the study presents a cross reading of the urban development of Ankara together with Rem Koolhaas&amp / #8217 / book Delirious New York and his essay The Generic City in SMLXL. The utmost goal is to explore a possible &quot / reciprocal relation&quot / between architecture and the city and to explore the limits of architectural intervention in the particular case of Ankara. Such an objective inevitably requires extending the limits of architectural thinking to the city scale. Thus, Ankara goes beyond a case study in an inquiry that aims to undertand the mechanisms of the building production in the contemporary urbanism.

[ES] El objeto de estudio de la presente tesis es la plaza urbana en el contexto de la ciudad histórica, entendida como espacio urbano históricamente configurado y aceptado socialmente como tal. El estudio se centra en la plaza como elemento estructurante de la ciudad, relacionada con su constitución, origen y principios organizadores. Se analizan las intervenciones planificadoras sobre la ciudad histórica tratando de descubrir criterios de intervención en el patrimonio urbanístico aplicables al ejercicio y la práctica profesional, en un estudio centrado en los límites administrativos de la Comunidad de Murcia. La práctica del urbanismo se considera en el marco de este estudio, como una actividad necesitada de criterios de actuación al margen de las determinaciones legales y reglamentarias de obligado cumplimiento. No se trata de expedir recetas, sino de encontrar principios y fundamentos para una práctica urbanística responsable. Esta tesis quiere servir también para divulgar los valores del patrimonio artístico, maltratado muchas veces por actuaciones incontroladas de la administración, a quien compete poner en marcha programas de recuperación de espacios públicos como piezas significativas de la ciudad histórica, al tiempo que se potencia una "cultura espacial" que contribuya a enriquecer estéticamente nuestro entorno urbano. / [EN] The subject of this thesis is the urban square in the context of the historic city, understood as an urban space historically configured and socially accepted as such. The study focuses on the square as a structuring element of the city, related to its constitution, origin and organizing principles. The planning interventions on the historic city are analyzed trying to discover criteria of intervention in the urban heritage applicable to the exercise and professional practice, with a focus on the administrative limits of the Community of Murcia. The practice of urban planning is considered within the framework of this study as an activity in need of performance criteria outside the legal and regulatory determinations of mandatory compliance. It is not about using pre-made formulas, but about finding principles and foundations for a responsible urban practice. This thesis also wants to serve to spread the values ​​of artistic heritage, mistreated many times by uncontrolled actions of the government administration, which is responsible for launching recovery programs for public spaces as significant pieces of the historic city, while promoting a "spatial culture" that contributes to aesthetically enriching our urban environment. / Ródenas Cañada, JM. (1994). La plaza en la ciudad histórica. Análisis tipológico de la plaza histórica en la Región de Murcia. Criterios de intervención [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/182559