This research aims to unveil a collective imagination that we all have in our subconscious. To awaken a new critical look at architecture, which consciously invokes relationships between related architectures.
A spatial reality will be shown through the representation of a magical place in which the relationship between the buildings, their creator, their spatiality, the balance between each of the authors give shape to the scenography of ideas. It manifests itself as a new representation of the topology of the sexual in architecture.
From this point of view, the aim of this thesis is to demonstrate the validity of the critical Paranoid Method of Salvador Dalí in its application to the interpretation and analysis of architecture. This will be applied to the interpretation of the architecture of Rem Koolhaas, and specifically to his building of China television, CCTV in Beijing. We will work in coexistence with the imaginary plane and the more analytical plane following different paths: Analyze the first works of both authors and see their correspondence with the current reality, and how much of these works is still in force today.
The thesis will therefore have a double character, on the one hand from the monographic point of view of the authors, their books and the paintings in particular; And from the analysis and creative criticism that arise from an architectural panorama in crisis and that allow the constitution of new fields of research for future works.
A first hypothesis is the influence of women on the artist or architect. It is sought to verify that in the case of Dalí as in the Koolhaas the women who have surrounded them throughout their career have had a key position in the development of their work. A second hypothesis, to demonstrate the importance of the publications analyzed The tragic myth of “The Angelus” by Millet and Delirious New York, for the development of future works, being much more influential than the work of art and architecture itself.
A third, which reveals how you can identify architecture in one genre or another. And so we try to demonstrate with the application of the MPC that the buildings maintain relations of different natures between them by means of a new magical language for the architecture. And finally, the existence of the secret life of certain architectures, where buildings become actors of a changing landscape. Or on the contrary they move in search of the change of scenery. The animation of the objects and the metamorphosis of the objects in architecture.