{"id":5826,"date":"2021-11-15T21:49:00","date_gmt":"2021-11-15T18:49:00","guid":{"rendered":"https:\/\/www.context-design.ro\/?p=5826"},"modified":"2021-11-24T13:10:33","modified_gmt":"2021-11-24T10:10:33","slug":"in-afara-contextului-tradarea-imaginilor","status":"publish","type":"post","link":"https:\/\/www.context-design.ro\/en\/arhitectura\/in-afara-contextului-tradarea-imaginilor\/","title":{"rendered":"Out of Context: \u201cThe Treachery of Images\u201d"},"content":{"rendered":"
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Text: Andrei Eugen Lakato\u0219<\/p>

Articol publicat \u00een volumul colectiv \u201eArgument: Studii \u015fi cercet\u0103ri \u015ftiin\u0163ifice de arhitectur\u0103 \u015fi urbanism. Arhitectura recent\u0103 \u2013 discurs critic\u201d, (9\/2017), Editura Universitar\u0103 \u201cIon Mincu\u201d, Bucure\u015fti<\/p>

Out of Context: \u201cThe Treachery of Images\u201d<\/strong><\/p>

\u00a0<\/p>

Argument<\/strong><\/p>

Imaginea a avut \u00eentotdeauna o func\u0163ie social\u0103, prin faptul c\u0103 operele de art\u0103 \u0219i arhitectur\u0103 sunt produc\u0163ii artistice dar, \u00een acela\u015fi timp, \u015fi lucr\u0103ri despre istorie, societate \u015fi opinie public\u0103, despre mass-media \u015fi manipulare (prin imagine). \u00cencep\u00e2nd cu Rena\u015fterea, preocup\u0103rile pentru a g\u0103si reguli de construc\u0163ie a imaginii conform legilor naturii au devenit tot mai importante, urm\u0103rindu-se redarea c\u00e2t mai fidel\u0103 \u0219i corect\u0103 a realit\u0103\u021bii \u00eenconjur\u0103toare. \u00cens\u0103, acest tip de crea\u0163ie a imaginii \u015fi toate teoriile ei, au disp\u0103rut treptat odat\u0103 cu apari\u0163ia fotografiei care, nu numai c\u0103 au marginalizat-o, dar au \u015fi eliberat-o de scopul de a reprezenta \u2013 o persoan\u0103, un mit, o scen\u0103 religioas\u0103 sau un obiect.<\/p>

Lumea din spatele imaginilor<\/strong><\/p>

Pictorul suprarealist Ren\u00e9 Magritte, \u00eentr-o lucrare foarte cunoscut\u0103 a sa, reproduce imaginea unei pipe, scriind sub ea urm\u0103toarele cuvinte: \u201eCeci n’est pas une pipe<\/em>.\u201d (\u201eAceasta nu este o pip\u0103\u201d). La prima impresie, se pare c\u0103 autorul se joac\u0103 cu imaginea, dar \u0219i cu mintea privitorului, cre\u00e2nd o aparent\u0103 confuzie. Totu\u0219i, \u00een acest caz cel pu\u021bin, lucrurile sunt de fapt mult mai simple: imaginea arat\u0103 \u00een mod clar o pip\u0103, iar afirma\u021bia autorului, c\u0103 nu ar fi o pip\u0103, nu are alt subtrat dec\u00e2t acela c\u0103 aceea chiar nu este o pip\u0103, ci este doar imaginea unei pipe. Tabloul, ce poart\u0103 titlul \u201eThe Treachery of Images<\/em>\u201d (\u201eTr\u0103darea imaginilor\u201d), ridic\u0103 de fapt o problem\u0103 cu care se confrunt\u0103 ast\u0103zi at\u00e2t arta, c\u00e2t \u0219i arhitectura contemporan\u0103: semnifica\u0163ia. Cuv\u00e2ntul \u201etreachery\u201d, ce se poate traduce prin tr\u0103dare, viclenie, \u00een ciuda aparen\u021belor, semnaleaz\u0103 exact care este problema: diferen\u021ba dintre aparen\u021b\u0103 \u0219i esen\u021b\u0103, dintre ceea ce vrea s\u0103 par\u0103 \u2013 un tablou, o oper\u0103 de art\u0103 sau de arhitectur\u0103 \u2013 \u0219i ceea ce este de fapt.<\/p>

\u00cen acest context (sau poate mai bine zis, \u00een afara lui), Neil Leach, arhitect, teoretician \u015fi scriitor, construie\u015fte \u00een cartea \u201eAnestetica (arhitectura ca anestezic)\u201d, o critic\u0103 incisiv\u0103 a consecin\u0163elor preocup\u0103rii crescute pentru imagine \u015fi produc\u0163ia de imagine \u00een cultura contemporan\u0103. El descrie starea actual\u0103 a societ\u0103\u0163ii umane ca fiind un \u201eextaz al comunic\u0103rii\u201d, o er\u0103 a comunic\u0103rii de tip mass-media \u00een care suntem \u00een permanen\u0163\u0103 lua\u0163i cu asalt de imagini[1]<\/a>. Televizoarele, computerele, fotocopiatoarele, inund\u0103 spa\u0163iul \u00eenconjur\u0103tor cu reproduceri de imagini ale unei culturi globalizate. Dup\u0103 p\u0103rerea lui Leach, lumea actual\u0103, a c\u0103rei cultur\u0103 a devenit \u201eo cultur\u0103 a copiei\u201d, este \u201exeroxat\u0103 \u00eentr-o infinitate de copii\u201d[2]<\/a>.<\/p>

Astfel, \u00eentr-o cultur\u0103 a reproducerii de imagini, realitatea lumii \u00eenconjur\u0103toare este re-produs\u0103, adic\u0103 re-creat\u0103, \u00eentr-un mod fals \u015fi \u00eentr-un spa\u0163iu virtual, al simul\u0103rii. Vechiul rol al imaginii de a reflecta realitatea a degenerat. Acum, imaginea ofer\u0103 posibilitatea evad\u0103rii din realitate, prin transpunerea mental\u0103 \u00eentr-o lume inexistent\u0103 \u015fi iluzorie. De multe ori, oamenii prefer\u0103 o astfel de existen\u0163\u0103 \u00een imaginar, departe de grijile cotidiene, spa\u0163iul real fiind \u00eenlocuit cu un spa\u0163iu virtual, care nu mai p\u0103streaz\u0103 caracteristicile unei vie\u0163i autentice. Jean Baudrillard, un cunoscut teoretician francez al culturii, sus\u0163ine c\u0103 ast\u0103zi esteticul a penetrat realitatea vie\u0163ii de zi cu zi sub o multitudine de forme, lumea fiind astfel estetizat\u0103, dar \u00een acela\u015fi timp \u015fi anesteziat\u0103 prin imagine.<\/p>

\u00centr-o lume \u00een care produc\u0163ia de imagine este o consecin\u0163\u0103 direct\u0103 a presiunilor de ordin politic, social sau comercial, imaginea este redus\u0103 la jocul superficial al formelor golite de sens. Consumul de estetic indus oamenilor \u00een mod for\u0163at, are ca scop final publicitatea, ce se bazeaz\u0103 pe o anumit\u0103 estetic\u0103 a intoxic\u0103rii cu imagini. Lumea modern\u0103 este estetizat\u0103 \u015fi anesteziat\u0103, rolul imaginii \u015fi a produc\u0163iei de imagine ajung\u00e2nd s\u0103 domine societatea \u00eens\u0103\u015fi, ce a devenit un spectacol sau, cum afirma Umberto Eco, \u201euna din tr\u0103s\u0103turile civiliza\u0163iei \u00een care tr\u0103im este carnavalizarea total\u0103 a vie\u0163ii\u201d[3]<\/a>.<\/p>

Imagine, perspectiv\u0103, context<\/strong><\/p>

Nici arhitectura contemporan\u0103 nu face excep\u021bie de la aceast\u0103 problem\u0103, produc\u0163ia contemporan\u0103 de arhitectur\u0103 fiind caracterizat\u0103 de o ofert\u0103 generoas\u0103 de imagini estetizate, atractive, dar cu o puternic\u0103 tendin\u0163\u0103 c\u0103tre subiectivism. Arhitectura modern\u0103 pare c\u0103 \u015fi-a pierdut (\u00een parte, cel pu\u021bin) esen\u0163a sa vital\u0103, deoarece a schimbat substan\u0163a cu aparen\u0163a, profunzimea cu suprafa\u0163a \u015fi superficialitatea, forma estetic\u0103 cu imaginea, devenind o arhitectur\u0103 \u00eenrobit\u0103 de monumentalism, consumatorism \u015fi spectacol.<\/p>

Leach sus\u0163ine c\u0103 degradarea arhitecturii are loc deoarece \u00een lumea contemporan\u0103 se iau decizii de natur\u0103 pur estetic\u0103 privind problemele de arhitectur\u0103 cu importante ramifica\u0163ii sociale \u015fi politice. Ca rezultat, arhitec\u0163ii s-au \u00eendep\u0103rtat \u00een preocup\u0103rile lor de realit\u0103\u0163ile vie\u0163ii de zi cu zi, arhitectura de tip decor lu\u00e2nd locul arhitecturii cu substan\u0163\u0103. \u00cen lumea intoxicant\u0103 a imaginii, estetica arhitecturii amenin\u0163\u0103 sa devin\u0103 anestezia arhitecturii. \u00cen aceast\u0103 cultur\u0103 a consumului de estetic, discursuri lipsite de sens dau curs unor strategii de seduc\u0163ie, iar designul de arhitectur\u0103 este redus la jocul superficial al formelor seduc\u0103toare, golite de orice fel de con\u0163inut autentic \u015fi valoros, \u015fi rupte de realitatea imediat\u0103 a contextului (fizic \u015fi istoric) din care fac parte. \u201e\u00cen lipsa de profunzime a culturii actuale a instantaneului, semnifica\u0163ia contextului este erodat\u0103\u201d[4]<\/a>.<\/p>

Arhitectura contemporan\u0103 pare c\u0103 nu se mai na\u015fte dintr-un loc anume, chipul unei arhitecturi a locului (\u015fi a timpului) fiind \u00eencet-\u00eencet \u00eendep\u0103rtat. P\u00e2n\u0103 \u00een secolul al XIX-lea, necesit\u0103\u0163ile de ap\u0103rare, infrastructurile \u015fi mijloacele de transport rudimentare, ca \u015fi exigen\u0163ele unei construc\u0163ii economice, au asigurat densitatea \u015fi contiguitatea \u0163esuturilor urbane tradi\u0163ionale[5]<\/a>. \u00cen cartea \u201eCollage City\u201d, Colin Rowe observ\u0103 c\u0103 \u00een anii \u201830, dezintegrarea str\u0103zii \u015fi a spa\u0163iilor publice puternic structurate p\u0103rea s\u0103 fi devenit inevitabil\u0103 din dou\u0103 motive majore: noua form\u0103 ra\u0163ionalizat\u0103 a locuirii \u015fi cerin\u0163ele circula\u0163iei auto. \u00cen acest moment, forma locuin\u0163ei, ce se dezvolta plec\u00e2nd de la nevoile individuale spre unitatea locativ\u0103, adic\u0103 de la interior spre exterior, nu se mai putea supune presiunilor exterioare venite dinspre ora\u015f \u015fi \u0163esutul s\u0103u. \u201e\u015ei cum, spa\u0163iul exterior public devenise, de altfel, haotic din punct de vedere func\u0163ional \u2013 p\u00e2n\u0103 la pierderea semnifica\u0163iei sale efective \u2013 atunci nici nu mai existau presiuni valabile pe care \u015fi le-ar fi putut exercita\u201d[6]<\/a>.<\/p>

De asemenea, Pierre von Meiss[7]<\/a> constat\u0103 c\u0103 \u00een toate culturile preindustriale, locuin\u0163a omului de r\u00e2nd \u015fi locurile de munc\u0103 urbane erau ad\u0103postite de edificii ce formau \u00eempreuna un \u0163esut relativ omogen. Fa\u0163\u0103 de aceast\u0103 regularitate, rupturile aveau o importan\u0163\u0103 deosebit\u0103, ele fiind rezervate edificiilor publice cu caracter de reper. \u00cen cadrul \u0163esutului urban tradi\u0163ional, \u201electura de obiect\u201d nu era permis\u0103 dec\u00e2t catedralei, prim\u0103riei, por\u0163ilor \u015fi f\u00e2nt\u00e2nilor ora\u015fului, celelalte construc\u0163ii unindu-se pentru a forma \u0163esutul, \u015fi numai modul de articulare a acestora punea \u00een eviden\u0163\u0103 diferen\u0163ele tipologice \u015fi func\u0163ionale, stabilindu-se astfel o ierarhie clar\u0103.<\/p>

\u00cen acest context, o privire asupra urbanismului \u015fi arhitecturii moderniste, scoate \u00een eviden\u0163\u0103 faptul c\u0103 ora\u015ful contemporan, \u00een\u0163eles \u00eenc\u0103 ca un \u0163esut cu o anumit\u0103 structur\u0103 \u015fi continuitate, tinde s\u0103 se evapore, sub presiunea generat\u0103 de ata\u015famentul arhitecturii moderne fa\u0163\u0103 de (produc\u0163ia de) obiect. Sub forma actual\u0103, ora\u015ful arhitecturii moderne, devine o adun\u0103tur\u0103 de obiecte disparate, ridic\u00e2nd acela\u015fi fel de probleme ca \u015fi ora\u015ful tradi\u0163ional pe care a \u00eencercat s\u0103-l \u00eenlocuiasc\u0103. \u00centr-un text din 1990, Pierre von Meiss afirma:<\/p>

\u201eeste timpul ca arhitectura sa re-\u00eenve\u0163e s\u0103 se subordoneze istoriei \u015fi proiectului ora\u015fului… Fiecare interven\u0163ie, chiar \u015fi cea mai umil\u0103 construc\u0163ie, trebuie considerat\u0103 ca fiind o piatr\u0103 pus\u0103 la edificarea ora\u015fului \u00een continu\u0103 transformare. Dac\u0103 aceast\u0103 propunere pare s\u0103 decurg\u0103 de la sine, ea nu corespunde totu\u015fi practicii curente. Acest apel la modera\u0163ie, adic\u0103 la o anume umilin\u0163\u0103, se ridic\u0103 \u00eempotriva arhitecturii elitiste care se ofer\u0103 publicit\u0103\u0163ii. Cu toate acestea, exist\u0103 totu\u015fi exemple de mari arhitec\u0163i contemporani care au acceptat s\u0103-\u015fi supun\u0103 lucr\u0103rile exigen\u0163elor \u0163esutului urban\u201d[8]<\/a>.<\/p>

Construind \u00een context sau construind cu contextul?<\/strong><\/p>

\u00cen a doua jum\u0103tate a secolului al XX-lea, percep\u0163ia arhitecturii europene asupra epocilor anterioare s-a schimbat treptat, ca un r\u0103spuns la transform\u0103rile ireversibile care au avut loc \u00een multe ora\u015fe europene. \u00cencep\u00e2nd cu anii \u201880, s-a dezvoltat con\u015ftientizarea importan\u0163ei dimensiunilor temporale \u015fi sociale ale arhitecturii. Unele dintre proiectele importante ale ultimilor ani au fost acele lucr\u0103ri ce s-au angajat \u00eentr-un dialog cu trecutul. Lectura (con)textului poate conduce la \u00een\u0163elegerea sensului \u015fi esen\u0163elor ce transpar aparen\u0163elor fizice imediate, pun\u00e2nd astfel bazele unei interven\u0163ii fondate pe cunoa\u015fterea sitului. Acest lucru poate avea ca rezultat o abordare a interven\u0163iei ce presupune (re)integrarea fragmentelor straturilor istorice p\u0103strate, astfel proiectul ajung\u00e2nd s\u0103 se \u00eenscrie \u00een sit ca un strat nou, dar care face referire la trecut.<\/p>

Cu toate acestea, conceptul unui proiect poate fi (ca rela\u0163ie), indiferent, \u00een conformitate sau chiar \u00een conflict cu contextul. O aten\u0163ie deosebit\u0103 ar trebui ar\u0103tat\u0103 integr\u0103rii sau reintegr\u0103rii cl\u0103dirilor \u00eentr-un anumit context dat, deoarece, a construi \u00een context difer\u0103 \u00een mod esen\u0163ial de a construi cu contextul.<\/p>

Primul aspect denot\u0103 o filosofie privind dou\u0103 entit\u0103\u0163i distincte, cl\u0103direa existent\u0103 \u015fi cl\u0103direa nou\u0103, dou\u0103 entit\u0103\u0163i ce nu comunic\u0103 una cu cealalt\u0103, respectul aparent fa\u0163\u0103 de o structur\u0103 mai veche put\u00e2nd s\u0103 ascund\u0103 de fapt o lips\u0103 de interes, sau o atitudine formal\u0103 fa\u0163\u0103 de acel context. Cu toate c\u0103 forma este ra\u0163iunea de a fi a arhitecturii, deoarece prin form\u0103 tr\u0103ie\u015fte \u015fi se exprim\u0103, ea nu poate fi golit\u0103 de con\u0163inut, pentru c\u0103 atunci s-ar putea vorbi de o dictatur\u0103 a formei[9]<\/a>. Raportarea valoric\u0103 la context, cu ale sale straturi optime \u015fi mai pu\u0163in optime, este important\u0103 atunci c\u00e2nd se discut\u0103 despre un context al con\u0163inutului, al fondului \u015fi nu al formelor.<\/p>

A construi cu contextul conot\u0103 o coexisten\u0163\u0103 a filosofiilor de design, fiind o \u00eencercare de a unifica noul cu vechiul, cele mai puternice atribute \u015fi caracteristici ale cl\u0103dirii vechi, ajung\u00e2nd s\u0103 se \u00eembine cu cele ale cl\u0103dirii noi. Lucrul dinamic cu contextul \u00eenseamn\u0103 o continuare a acestui context sau, altfel spus, o scriere \u00een continuare. A construi cu contextul necesit\u0103 o implicare profund\u0103 a conceptului ini\u0163ial, ce corespunde condi\u0163iilor istoriei sociale, politice \u015fi economice din vremea \u00een care a fost construit\u0103 cl\u0103direa, iar noul design ar trebui s\u0103 \u00eencorporeze conceptul cl\u0103dirii existente[10]<\/a>.<\/p>

Concluzii<\/strong><\/p>

Poate c\u0103 \u00eentr-adev\u0103r este timpul ca arhitectura s\u0103 (re)\u00eenve\u0163e s\u0103 fie subordonat\u0103 istoriei ora\u015fului, \u015fi ca fiecare nou\u0103 interven\u0163ie s\u0103 ridice \u00eempotriva arhitecturii elitiste, v\u0103zut\u0103 ca o ofrand\u0103 adus\u0103 publicit\u0103\u0163ii \u015fi consumului de imagine. \u00cen spiritul unei construiri continue a ora\u015fului, noile proiecte ar trebui s\u0103 eviden\u0163ieze continuitatea \u015fi interpretarea \u0163esutul urban valoros, \u015fi nu individualitatea cl\u0103dirii. Spun\u00e2nd nu ora\u015fului compus din cl\u0103diri de tip reper, ar putea permite (re)crearea unui \u0163esut urban omogen care ar sus\u0163ine spa\u0163iile \u015fi structurile cu caracter public. Prin exploatarea urmelor istorice \u015fi geografice cu caracter valoros, noua arhitectur\u0103 ar putea vorbi despre dimensiunea temporal\u0103 a ora\u015fului, f\u0103r\u0103 a reproduce \u00eens\u0103 formele trecutului.<\/p>

Arhitectura contemporan\u0103 este o oglind\u0103 a societ\u0103\u021bii contemporane, complex\u0103 \u015fi contradictorie \u00een acela\u015fi timp, reflect\u00e2nd de fapt starea de spirit a vremurilor. Neil Leach este de p\u0103rere c\u0103 imaginea a devenit o masc\u0103 artificial\u0103 ce moare sub asaltul culturii de publicitate, sus\u0163in\u00e2nd c\u0103 \u201e\u00eentr-o lume \u00een care imaginarul devine realitate, nu mai exist\u0103 loc pentru real. \u00cen secolul al XX-lea a avut loc furtul perfect: a fost furat\u0103 realitatea \u00eens\u0103\u015fi\u201d[11]<\/a>.<\/p>

\u00cen contextul globaliz\u0103rii (arhitecturii), c\u00e2nd grani\u0163ele determinate de culturi \u015fi de geopolitici sunt \u00eenl\u0103turate, este nevoie de elemente distinctive ce pot s\u0103 adauge caracter \u015fi valoare unei zone, \u015fi s\u0103 ajute la p\u0103strarea identit\u0103\u0163ii acesteia. C\u0103utarea acelor elementele precum memoria \u015fi istoria contextului, poate conduce la o arhitectur\u0103 capabil\u0103 s\u0103 se integreze \u00eentr-un loc anume, iar atunci c\u00e2nd limitele dintre loc \u015fi cl\u0103dire se vor fi dizolvat, arhitectura va putea s\u0103 transmit\u0103 simplitatea \u015fi naturale\u0163ea faptului de a fi \u00een acel loc.<\/p>

Bibliografie:<\/strong><\/p>

  1. Debicki, J., Favre, J. F., Grunewald, D., Pimentel, A. F., Istoria Artei \u2013 pictur\u0103, sculptur\u0103, arhitectur\u0103<\/em>, Enciclopedia RAO, Bucure\u015fti, 1998.<\/li>
  2. Detail<\/em>, Refurbishment<\/em>, Nr. 11, 2009, Giebeler, Georg, \u201eBuilding with the Context \u2013 Split Identities as Design Concept\u201d<\/li>
  3. Eco, Umberto, \u00cenainte ca Racul. R\u0103zboaie Calde \u015fi Populism Mediatic, <\/em>Editura RAO International Publishing Company, Bucure\u015fti, 2007<\/li>
  4. Frampton, Kenneth, Modern Architecture. A Critical History<\/em>, Fourth Edition 2007, Editura Thames&Hudson Ltd., Londra, 2010.<\/li>
  5. Leach, Neil, Anestetica (arhitectura ca anestezic)<\/em>, Editura Paidea, Bucure\u015fti, 1999<\/li>
  6. Rowe, Colin, Koetter, Fred, Collage City<\/em>, Editura The MIT Press, Cambridge, Massachusetts, 1984<\/li>
  7. von Meiss, Pierre, De la Forme au Lieu. Une introduction \u00e0 l\u2019\u00e9tude de l\u2019architecture<\/em>, Editura Presses polytechniques et universitaires romandes, Lausanne, 2007<\/li>
  8. von Meiss, Pierre, Arhitectur\u0103, Ora\u015f, Teritoriu<\/em>, Ecole Polytechnique Federale de Lausanne, 1990, p. 3.<\/li>
  9. Tombazis, Alexandros N., Scrisoare c\u0103tre un t\u00e2n\u0103r arhitect<\/em>, Editura Libro, Atena, 2008, p. 81.<\/li><\/ol><\/div>

    Note subsol:
    [1]<\/a> Jean Baudrillard, Extazul comunic\u0103rii<\/em>, Apud<\/em> Neil Leach, Anestetica (arhitectura ca anestezic)<\/em>, Editura Paidea, Bucure\u015fti, 1999, p. 5.
    [2]<\/a> Neil Leach, Anestetica (arhitectura ca anestezic)<\/em>, Editura Paidea, Bucure\u015fti, 1999, p. 5.
    [3]<\/a> Umberto Eco, <\/em>\u00cenainte ca Racul. R\u0103zboaie Calde \u015fi Populism Mediatic, Editura RAO International Publishing Company, Bucure\u015fti, 2007, p. 90.
    <\/em>    [4]<\/a> Neil Leach, Anestetica (arhitectura ca anestezic)<\/em>, Editura Paidea, Bucure\u015fti, 1999, p. 72.
    [5]<\/a> Pierre von Meiss, Arhitectur\u0103, Ora\u015f, Teritoriu<\/em>, Ecole Polytechnique Federale de Lausanne, 1990, p. 3.
    www.uauim.ro\/catedre\/istorie_teorie_restaurare\/discipline\/ACP
    [6]<\/a> Colin Rowe, Fred Koetter, Collage City<\/em>, Editura The MIT Press, Cambridge, Massachusetts, 1984, p. 56.
    [7]<\/a> Pierre von Meiss, De la Forme au Lieu. Une introduction \u00e0 l\u2019\u00e9tude de l\u2019architecture<\/em>, Editura Presses polytechniques et universitaires romandes, Lausanne, 2007, p. 88.
    [8]<\/a> Pierre von Meiss, Arhitectur\u0103, Ora\u015f, Teritoriu<\/em>, Ecole Polytechnique Federale de Lausanne, 1990, p. 9.
    [9]<\/a> Alexandros N. Tombazis, Scrisoare c\u0103tre un t\u00e2n\u0103r arhitect<\/em>, Editura Libro, Atena, 2008, p. 81.
    [10]<\/a> Georg Giebeler, \u201eBuilding with the Context \u2013 Split Identities as Design Concept\u201d, \u00een revista Detail<\/em>, Refurbishment<\/em>, Nr. 11, 2009, p. 1222.
    [11]<\/a> Neil Leach, Anestetica (arhitectura ca anestezic)<\/em>, Editura Paidea, Bucure\u015fti, 1999, p. 7.<\/p>

    <\/p>

    <\/p><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

    Imaginea a avut \u00eentotdeauna o func\u0163ie social\u0103, prin faptul c\u0103 operele de art\u0103 \u0219i arhitectur\u0103 sunt produc\u0163ii artistice dar, \u00een acela\u015fi timp, \u015fi lucr\u0103ri despre istorie, societate \u015fi opinie public\u0103, despre mass-media \u015fi manipulare (prin imagine).<\/p>","protected":false},"author":4,"featured_media":5939,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[37,43,46],"tags":[53,57,55,56,58],"class_list":["post-5826","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arhitectura","category-context","category-social","tag-arhitectura","tag-comercial","tag-contrast","tag-imagine","tag-manipulare"],"yoast_head":"\n\u00cen afara contextului: \u201eTr\u0103darea imaginilor\u201d - Context Design Birou Arhitectur\u0103<\/title>\n<meta name=\"description\" content=\"\u00cen afara contextului: \u201eTr\u0103darea imaginilor\u201d context contrast comercial imagine manipulare construc\u021bii contemporaneitate\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.context-design.ro\/en\/arhitectura\/in-afara-contextului-tradarea-imaginilor\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00cen afara contextului: \u201eTr\u0103darea imaginilor\u201d - 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