The Beauty of Valparaiso: Beauty, Market and Democracy in Contemporary Architecture

THE BEAUTY OF VALPARAISO Beauty, Market and Democracy in Contemporary Architecture EURAU 10
ABSTRACT. The beauty of its own in the City of Valparaiso, through aesthetic judgments.
Valparaiso is a city full of icon. Therefore, the important thing is to establish limits on the field of study, so that the end result is a proposed study defined and bounded. Recognizing a city that has developed its economy and importance as the chief among South Pacific port. Recognize aesthetic trial fails to generate an objective view of the elements of beauty and sublimity of Valparaiso. KEYWORD. Beauty, Valparaso, Architecture, city port, Chile
Carlos Eaton Mondaca

University of Valparaso Facultad de Arquitectura Avenida el Parque 570, Playa Ancha, Valparaiso Phone: 56-32-2508256, carloseaton@gmail.com
The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture
JUSTIFICATION Born of a need for continuous internal self discuss and rethink the origins, languages from which the knowledge. This needs own, see it performed in this investigation, to try to understand and perhaps be able to define what we call beauty. But a limited and known place, a territory that after years of touring through the eyes of the student of architecture, shapes their empowerment. This place is Valparaso. The resort also raise the issue the idea of being able to say something, not the past and written or studied, but from today, and how these universal themes are interpreted and reflected in today's world. It is in this sense that I take to start the discussion of EURAU 10, "European Symposium on Research in Architecture and Urban Design 2010" to be held in Naples, Italy 2010. The main topic of discussion will be "the beauty, the market and democracy in Architecture." Bring to this day the "utilitas, firmitas and venustas" Vitruvian synthesis of thought .. It is there that questions come to light and decide to be raised. Is there a beauty in Valparaiso understood by the community in which these three factors come into line?. Is it possible to establish a real relationship, direct or indirect between the beauty and behavior of the market in it?. Are there items or components that do, from an objective point of view, the beautiful city of Valparaiso?. The novelty presented. The course of action is to take separately the theoretical issue of Beauty and the Market, in an initial investigation, which has allowed me during the 1st half points to establish some relation to one another. Since the Renaissance, the modern era until today. Two issues that a priori are different, they seem to have more in common than we think. This is a relevant contribution. Take part in this event and know how to handle. Understanding the city in our time requires an understanding of how the
economy moves your posts in pursuit of its own internal challenges. The market, in the words of Pablo Baraona, is "a monster that goes above what is in the way." The relevance goes into setting the table for discussion in the market and politics in the discussion of the aesthetic value of the city. I think the first approach is to distinguish how many Valparaso co-exist. Strictly speaking in Valparaiso live 2 cities. The industrial city, the plan and the foot of the hill, that of the foreign colonies settled to form a uniform density in the city, and the other city vernacular, made by men, not architects. The bankrupt fund, which stands on tiptoe on the edge of ravine, the slight, which builds other links to the different hill to what is happening a few miles below. Valparaiso is the world, a built landscape over time. And mirror reflection of different periods, leaving traces of their passage through, its periods of splendor and its disasters. So I use the concept of Jesus Aparicio Guisado Ma to define what stereotomic and tectonics. "The concept is linked to stereotomic field of architecture. The architecture is itself and is born of solid walls. Stereotomic The concept emphasizes the presence in the architecture of the art "

"The concept is linked to tectonic what is not architecture, in the sense of Heidegger. The architecture is what is not. The construction is lightweight and tectonic architecture of what is born outside the building, that is, arises from the nature that surrounds " Jess Ma. Aparicio Guisado, EL MURO, Atlntida editor, 2006, Spain.pag. 18 Purpose of research
The idea of my seminar is to show one of the faces of the city, the beauty of its own, unmistakable, authentic in the city of Valparaiso, seen in the eyes of today. It is the first limit the field of study. It is trying to uncover what the aesthetic judgments we have of our city of Valparaso, and what are the elements that make up this market trial.
It is important to understand that an aesthetic view, is a subjective opinion with a beginning, which is what at first sight or in one of the senses, he manages to capture our attention first and then give us a spirit of peace, joy and serenity. The aesthetic view is after the first spell of the event and where the royalties, conventional arrangements of men come into agreement on some form, space, events or event.
THE BEAUTY 1 An idea about beauty "In deciding whether something is beautiful or not, does not refer to an object representation through understanding, but the subject and the feeling of pleasure or pain by means of the imagination. The trial of taste is not therefore a view of knowledge, it is not quite logical, but aesthetic, the principle that 1 determines it is purely subjective " Get the theme of man and his relationship with his surroundings - the environment and cultureFor centuries, the intellectual development of poets, thinkers and philosophers have been reflecting on the profound subject of beauty and discretion, or trial, Trying to unravel the mode and manner in which man makes certain emotions resonate within your being, that succeed in creating in him a feeling of joy, happiness or satisfaction; These feelings are produced or on situations or feelings, muses, or objects, so that Man falls into account the possibility that something someone or some situation may be defined as beautiful. This feeling or opinion about whether something is beautiful or not, is true for first resonates within us, leading to something that generates a change. This eco interior is different in all men, resonates differently. However, always finds resonance. That beats the beauty, or echoes, as is experienced by the subject. We refer then to the trial of taste. The different sensations of contentment or discontent lies, not so much about the condition of external things that arise, as for the peculiar sensitivity to each 2 man to be pleasantly and unpleasantly impressed by them." It is an invitation to some to start this reflection by the internal echoes that occurs in each of us, and give us the power to judge of beauty. What is the value judgments it takes to get to say that something is beautiful or
not? This the concept of beauty is something linked to the experience of the subject. The beauty is explained, either objectively or subjectively "or sensitive-subjective (Burke) or subjective-rational (Kant) or objectively rational (Mendelssohn) or, in 3 short, sensible and objectively"
This particular view of Schiller on the sensitive target of beauty, brings to light the power to deduce the objectivity of beauty. This involves the difficulty of establishing the one hand the concept of beauty, while on the other hand generate a fair way to be able to judge what is beautiful, by the nature of reason. The nature of reason is understood as "what is in itself, so that a certain thing 4. becomes what is" Thus, beauty is a principle of nature, its internal forces that make something, which is simply its essence, its domestic law that makes the form.
The trial of taste is itself, the mode and manner in which one set inside what is one thing to another. In this sense, we can also say that there are different types of tastes. The trial of taste, in this sense, must be narrowed again to a minor field of study, and in relation to architecture. The trial of taste in beauty has more to do so is captured through the eye Find these lines of force are to be something, what exactly is the objective concept. The beauty is seen and felt through the imitation of nature or the intuition of the spirit, or both together. Then we went to observe the relationship between the subject, the man observer and the observed body. One who gives us a shock Linking the issue with the body, the object of emotion, can be given as a first lamp, a light initial word of Greek origin, "poiesis" which is "creation" best way "to create" as a original word in ancient Greek. "There's only when it manifests poiesis the muse, when the work is the
manifestation
of
the
Muse"
By itself the muse can not move, but when this position is in relation to what has generated the man who observe. That's where the muse is manifested as evocative of creation. "On the contrary, is usually called" bad box "to him who builds with all that plot deficiencies parameters. Now postulate that the so-called "good picture" is not even art. We could, for reclassification to the table think we need another good latitude. Just calls and essential expressions of feeling, meanings, and so on. However, postulate that 7 even when I had and being so necessary, it would still Arte "
Godfrey we face in this case the pretty picture and the ugly picture, the existence of an inquiry to find answers What makes a painting is art? And to that letter, a question extrapolated: What makes a painting is beautiful or ugly, that is beautiful or not? Then we have to ask, in the first instance, an idea of beauty in relation to the discretion of individual tastes, the inside edge of the feeling of exhilaration, as this is extremely subjective (what one considers as beautiful as a taxable or not).
"While it is true that beauty and ugliness, not even more than sweetness and bitterness, are not qualities of objects but belong entirely to internal or external sense, we must admit that there are certain qualities in objects that are adapted 8 by nature generate specific feelings "
But then, as is this feeling that makes us legitimate particular the nature of reason which is obviously something beautiful, what to our senses must be interpreted as beautiful.
2 The Beautiful and Sublime "There is also a sense of nature's finest, so called, because it tolerates well be more fully enjoyed without satiety or exhaustion, or because the soul is a sensibility that makes it suitable for movement virtuous, or because it highlights skills and intellectual advantages, while others are compatible with full mental "9 indigence. By setting as the first sense, beauty is in itself is something that produces a feeling in man, it is necessary to pay attention to this feeling of well being, which is characteristic of all men, and that makes it, or be subject not with anything, happy or sad, happy or bitter, etc. This feeling of pleasure is a sensation that resonates according to cultural, social and economic impact of man in which resounds with emotion. According to Ismael Kant, this feeling of pleasure "is mainly of two kinds: the feeling of the "10 sublime and the beautiful. Emotion is both nice, but very differently In this sense, the relationship between the sublime and the beauty is linked to a larger whole, which is man's perception of their world. "The sublime moves, the beautiful, love it. The expression of man, dominated by the feeling of the sublime, it's serious, sometimes fixed and amazed. The sublime presents different characters in turn. Sometimes he accompanies some terror or even melancholy, sometimes merely a quiet amazement, and sometimes a feeling of beauty spread over a general provision sublime. In the terrifying sublime first call to the latter, the noble, and at last it magnificent. A "11 deep loneliness is sublime, but terrifying nature The immediacy of beauty, beauty is its independence of concepts. In referring to the beauty and what cause or resonates within each one, we mean it from the senses and as received, perception. "No beauty that is under the concept of an end is pure beauty"
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In this sense, beauty seems to have no previous concept, the default is to interpret what is beautiful and the bad. In fact, one thing that anyone could object to be beautiful or pleasing to the senses, not necessarily be for another person. "The sublime qualities instill respect, the beautiful, love"
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To exist, then in time, these feelings should be rotated, to create pure tones and contrasts. Continuous Kant with the following example: "The sight of a snowy mountain peaks which rise above the clouds, Description of a raging storm or painting of hell by Milton, produce pleasure, but attached to 14 terror " There is a counterpoint between two sensations that seem at first like negatives of each other. Thus, perhaps contradictory, because it is in this relationship where there is a commotion inside the man. "High oaks and gloomy solitude in the sacred forest, are sublime"
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The reverb sound is a feeling, achieving happiness and sadness play, sometimes a state of serious or fixation. Terror or melancholy. This reveals a field of knowing, know the reality of the world and their own culture. "Both the historical spirit as the artist wants to remake the world. But the artist, "16 compelled by its nature, knows his limits, which the historical spirit unknown. But so far reached the limit of what is beautiful, and start the leading edge of the sublime. Albert Camus Exile Elena reflects on the beauty as follows: "(...) The Greek thought has always protected the idea of limit. It has not taken anything to the end - or the sacred, nor reason - because it has not denied nothing, neither the sacred, nor reason. He has shared everything, balancing "17 shadow to the light. This limit, beauty and the sublime beauty "leads us with joy and ease, to the dangerous places in which we must act as pure spirits and get rid of all that
body of knowledge in pursuit of truth (the sublime )
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4 Aesthetic Judgement (Man> taste <object)
"You do not need to worry at all about the existence of the thing, but remain quite indifferent in this respect so that the wheel of the trial judge in matters of 19 taste" The opinion on the aesthetic judgments depend on the development of sociopolitical cultural moment of man and his own world view of these chores. In this sense, there is a satisfaction that determines the trial. One can say for example that the building was built in some part, his qualities, or its lighting effects, or at its faade detail produce some excitement. In this general example, we realize that the interest of satisfaction produced by the building changes as soon as you attach to attributes of an object, giving limited to, existence of these qualities. Kant, to address this point, says "when it comes to whether something is 20 beautiful, if not sought for itself," which adds "but only as it is deemed a mere 21 contemplation" In respect of this principle, Friedrich Schiller responds, "What Kant deny that beauty is like with the concept. Indulge with a concept presupposes the "22 existence of the concept pre respect the feeling of pleasure in the mind The feeling of pleasure or pain should differentiate itself from the moment you stand out from any other feeling. The nice thing for every man means giving you pleasure, the beautiful what simply likes, as well as expected or approved. Thus, when we know the parameters measured, we can understand and comprehend the results. So we can define a building as perfect when parts of it
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are governed by the concept (Firmitas, utilitas, venustas) architecture, and the end all, and his form has been determined purely by its idea. But to call them beautiful, which is to reveal in this letter, will be when we have not in any way, the help of these concepts, established a priori, to understand your idea. It is the work itself that by its form and structure shows clear and precise. Add to that a priori or understand that this trial has gone through the sieve of the trial of taste (which we certainly produced some of the sensations to issue the trial) may say that we have something that certainly is beautiful. This is why aesthetic judgments has in it a sense of universality, meaning that its approach and its conclusions do well in the opinion of the majority or all of the people who may know about it. But do not leave with it the idea of subjective beauty, but add to this concept, the idea of universality, that, "beauty is what pleases universally without a 24 concept" We can say that these values that rely on concepts of property are not logical, but is subjective. Indeed, if these concepts are on their functionality, would be qualitative, but it does the beauty and is close to what is or should be good. Particular Judgement In particular trial, one can consider that the Benedictine monastery (1964 Architects: Brother Martin Correa and RP Gabriel Guarda) has an interior built in a light that causes my feelings lead me to say it is really beautiful. These would be about light and my body, what you feel about the shadows cast on the walls and floor. The particular way in which input light is scattered by the edges of the walls without leaving view the main focus of light. Without saying any concept of using all these details would be set in a particular view of taste. But, if for such consideration, also conducted a comparison with all those buildings where I have been presented that the effect of light as a wonderful moment, in this sense, this comparison of events, he might eventually create a sense of what is architecturally really wonderful light.
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(fig1) Stair to cript
(fig2) Ramp access from admission
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(fig3) Gate access from the inner ramp
(fig4) View from the entrance to the altar
Fuente: http://www.uc.cl/faba/ARQUITECTURA/IGLESIAS/BenedictDiapos.html Since the coming and go, the Chapel of the Benedictines is shown as a large cut, bored, barefoot wall where one can see, inside, light beam, not the source from which it comes. A feeling of being in another place, a sacred place.
"The light, I said The light outside circumstances, spatial position of prayer Light is the sand to be beside the sea in our prayer. "
"Project for a chapel on the estate of Pajaritos. Annals of the Universidad Catlica de Valparaso, 1954, Alberto Cruz Covarrubias
We can consider that everything that happens inside the Chapel of the Benedictine character is beautiful because it combines in itself agreeable, primal feeling that captures the attention of people. This state then turn light is the element that constructs our world from ancient times through the arts, like painting sculpture and architecture. The darkness and shadows are also a fact of light. In this case the trial is a trial of taste. But rather a trial of the senses. Santiago de Chile occurs in a place in the Arturo Merino Bentez International Airport, which is a transit area, access to 3rd level boarding access on the street where every day is an agglomerated large numbers of people to fire their loved ones who are traveling.
(fig5) Location Level 3 access to the boarding area. In yellow zone where people crowd together, overlooking the main runway.
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This is a place not calculated, built as a single access but the lives of people has changed so that place has become. Excited families waiting to the last farewell, hoping that the window of the airplane, your relative or friend can see them in this corner. Formerly at the airport if there was a terrace where the view was with the amplitude of the track and working life inside the landing slabs. However, the new building did not evidence this particular form of farewell and arrival at the largest airport in Chile. This, the particular view of taste comes into play with what the work means A need for the trial of taste in this case is "one who forms it, judge for yourself, without the need for both to learn the opinion of others, or to inquire in advance "25 about the satisfaction or pleasure experiencing the same object. 5 Purpose of Aesthetic Judgement Kant explains that the purpose: "It is the object of a concept as this is considered as the cause of that (as the 26 real principle of its possibility)." Namely a purpose, we can say that knowledge of a rule that helps us to understand the object itself, will be how this technique. This "gives occasion to seek understanding for the basis for the result (the final object) and the 27 determining factor as determined." The real beginning of its possibilities is the gateway to a recovery in itself the result of the object. The object itself is not beautiful as we have seen, but that this trial occurs in the intermediate space between man and object. That takes care and manages to provoke something inside himself. It is in that place where the trial occurs. But the road to aesthetic judgments specifically, is one that uses thinking as a tool of discernment and working on what, as a first observation, has drawn our attention. Taking this first awareness of something of the object, indeterminate a priori, it starts the way the trial.
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That is why the trial is the next step after the attention of the senses. This trial, by being passed through the sieve of thought into what we can understand how the Critique. We must ask ourselves what is the reason we think that is necessary to generate critical knowledge, and make aesthetic judgments, a need for universal.
"For such a critical activity is to develop two basic conditions must occur 1 There is only critical when there is a theory. 2 There is only critical when there are opposing views, a variety of possibilities.
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This sense is that they will build the foundation to understanding an idea of the shape of the object, objective in nature, about feeling. And what is this theory, which in the case of aesthetic judgments, gives us the opportunity to have a foundation on what is being tried as a universal thing? This is the meaning of the theory of art, the canons of beauty of every culture, the interpretation of nature and our environment. The theory in this sense is one that, based on culture and history of the experience of each people, builds the particular way of looking at it today and the future. That is why the discussion breaks out in an area of grounds: It is there where they reveal all the other possibilities that give life to the initial argument, that give life to the trial. For all the people involved are based on the screening of the concept through his own intellect. And this intellect has no doubt built by the culture, life and education of each man. The purpose of the trial as a universal aesthetic means not strictly speaking a stagnation of thought a conservative, what is sacred as a metaphor, or an irrefutable dogma. Nor does one balance and standardization we think about is aesthetically pleasing to the senses or not. One purpose of aesthetic thinking in the trial as a universal goal, is the real possibility of creating knowledge about this undefined space that separates man
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from the object. In other words, is to create an awareness of this middle ground, which is where the trial is really aesthetic. On this idea of a purpose, Godofredo Iommi says on the subject: "Inspiration is the stroke of love that gives, through all the techno-and shows across meanings. That is the distinction between a good poet and he who is 29 compelled by love, strokes, muse, etc., To make art . It reinforces the idea of beauty without emotion default concept. But it is a beauty that requires freedom for his trial. It thus produced the crossing of meanings that open all other possibilities. To judge opens the door to an understanding of these events that achieve intersecting meanings. And on freedom as an issue that is part of the concept of what we found is really beautiful or not, it also becomes important in the issuance of an aesthetic judgments. We are free as we to judge of taste due to our own internal forces, our own senses. Existence since the door opens and a freedom that is not as well, individual freedom versus freedom of the media. To judge aesthetic into reality according to certain parameters, or rules established to refine this view. Would it then be that the freedom to deliver an aesthetic view is also constrained by what society dictates? The Romans defined freedom as "Libertas est potestas Jure faciendi id quod licet" (freedom is the power to do what the law allows) It is colloquially said that personal liberty is lost as soon interfere or affect in any way the freedom of others. In this sense, we should consider the existence of an aesthetic view is not completely free, or lose their freedom as it affects the aesthetic view of another, causing any injury or discomfort issue. As was said and argument before the idea of identifying an aesthetic purpose of the trial itself, is to agree on a free will to make such judgments, in a space common denominator for all parties (the universal nature of the trial)
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It looks like there is no such case of loss of freedom on the issue itself of a trial.
However, freedom of opinion taking shape as we approach what is said when issuing the opinion, the content of the trial on the trial itself. That is, the content of the trial will be free as long as it is the first appearance, taste pure trial (a personal opinion about the case) and an aesthetic foundation that tries in its genesis, have a universal character. As we move into the subject matter of the aesthetic judgments we can come across with more edges that are indeterminate with only mention the fact (opinion, criticism, freedom, concept). Therefore I will focus my study on freedom of opinion, what allows people to actual judgments, through its own nuance without feeling contradicted himself (opinion of what is being said) with what actually is and are feeling (the opinion of taste) Thus, being free, we are not completely free. To judge individual taste is not necessarily an aesthetic judgments about it. For this very reason, freedom of opinion lies in having the full range of possibilities without any pressure. A person who is not a priori clear canons of the object, may not dare to offer its own opinion of the way of seeing things, fear their own ignorance. There is a mismatch between a trial of taste and aesthetic judgments.
The universal nature of the trial were able to approach this, as is accepted by a majority of people, without generating hatred and grudges, grievances either. It's accepted because it is understood the background, how and what is being tried as beautiful or not. It is so because the trial comes to freedom of opinion, as this can be delivered and its concept, being in agreement and denominator (basics) manages to be a contribution to the understanding of the concept. The reality is strong, and displayed so that the suit seeks the concept, the idea, the essence of reality. Is to uncover the contradictions, the mismatch of the object.
In both, the beauty remains present but hidden in their understanding, so that
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the process of unveiling the concept brings forth the process of aesthetic judgments, because it arises from the initial impression that leads to subjective concept, as measured in its own time , without becoming a logical view. "Now we must note well that the beauty to look for an ideal, the beauty can not 30 be vague but determined by the concept of an objective purpose." This forces us to ask again and again, in each work, the possibility of reinventing the rules of logic, which does not allow us to see the idea of the concept itself, which is our purpose in aesthetic judgments, as these rules are written by the same men, not nature. To this argument, I quote Geoffrey Iommi, about the distribution of colors in a painting of his text "where how and why art "The logic of the colors is not a universal canon, and it is built and is held each time in each frame. All attempts of generalizations-even legitimate-are false from 31 the very fact of art. " The aesthetic view is that constructed in the sense of subjectivism label sensory space, and objectively justified.
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MARKET 1 The Purpose of the Economy We can in this sense to talk about 2 types of conceptions about the subject, and because of that is the economy: it can be classical, since Aristotle, Adam Smith and David Ricardo to the Marxist conception of Hegel and Marx. In general these two concepts are different schools that have introduced their experiences in the local economies of their countries. The design of the classical economists believe the economy is to focus its interest in wealth and emphasize the importance of consumption as an end of all production. However, in this sense, Adam Smith is clear in stating that "The man almost always has the chance to receive help from their peers, and it is useless to expect from their benevolence only. It is more likely to get if you can tilt in his favor by showing them selfish interests them do what he asked ... It is not benevolence of the butcher, the brewer or the baker that we are seeking food, "32 but to consider their own interests ... In his benevolence and do good, becomes merely a consequence of a primitive desire, which is self-interest. That self-interest only, is in itself selfish, it does not allow interference by other men. An example would be the entrepreneur who wants to expand their business to another city. To this will need to hire new employees, buy land on which to place their industry, and look for markets where their products can be marketed. In the process destroy competition, leading a small limited competition or monopoly capitalism. But indirect
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conditions carries good for society, as the flow of capital in turn that the recruitment of new staff training and brings a drop in the unemployment rate in the city where you arrive. To this, I call Adam Smith "invisible hand that leads 33 him to promote an end which was not in his intentions."
South America in the second half of the twentieth century An Overview The model based on imports of products is in crisis in the late 50s. The development of societies is not matched by domestic economic development. The labor is in surplus since the industrial machinery and disabled is unable to absorb it. All this mass of people, some from the continuing exodus of people from the countryside to the city. The field is kept organized into two extremes: small farms and estates. In addition, primary exports suffer when competing with a new market competitor, the United States, the country won the 2nd World War, which makes every effort to extend its economic dominance in Latin America. In 1959 Cuba had exploded, breaking the colonial ties with the United States, against the oppression of Fulgencio Batista and telling the world that if you can. "The arms libertarian stand against American economic imperialism from the Cuban experience, moving to Ecuador, Colombia, Venezuela, Brazil. Armed "34 struggle is gaining adherents as the only means of liberation. "Meanwhile changes were taking place in the world economic order as a result of economic recovery in Japan and Germany and its conversion into industrial 35 powers competitive with the United States" These changes, made necessary the establishment of the capitalist economic system in most places as possible, in order to expand economic fields, and create sustainable platforms over time, providing security to investors. The situation of the seventies in the area is the consolidation of capitalism and neoliberalism in South American countries. Foreign capital, in its vision of expansion, seeking new markets, and Latin America is the ideal place to
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implement and export heavy industries with cheap labor and abundant. But for this purpose are needed stable governments. Dictatorial governments of Brazil, Argentina, Uruguay and Chile are examples of how states formed by the armed forces out into the neo-capitalist system, with managers and public and corporate sector, linked to foreign capital. Is this the land that faces the market value. One fluctuating, being built on repression, with the helping hand of the global financial system, and U.S. foreign policy. The political and economic condition of the second half of the twentieth century is the reality of a merger between the two terms, not only market we can talk or we can abstract the idea of politics without taking into account everything that moves the political apparatus is economy itself. So we can ask whether the architecture of today is one that responds to a style, a sense of space, or more brutally, in a cost-habitable fees to a market economy to work as an object.
Neoliberal economics, The politico-economic reality of Chile from 1973 to present Chile, as in most South American countries, the last stage of the twentieth century underwent a series of economic, social and political radicals, so that they changed the concepts and common purpose political ideologies of welfare, understood either otherwise. On December 17, 1969 at Santiago de Chile, Coordinating Committees of Popular Unity, formed by the party communist, socialist, radical, socialdemocratic, the popular action movement unified (MAPU) and the Independent Popular Action (API), approved the policy agenda of reforms People's Government. In this program, the relationship deepens people's power with a new state organization, participatory and action. It is not just change of president or ruling
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party, but are reforms that could lead to the working masses to be part of the country's development. Policies such as land reform, continuation of work begun in the government of Eduardo Frei (1964-1970). During this government, Frei expropriated 1400 estates. The government of the UP (Popular Unity) 4400 estates were expropriated. Was completed the nationalization of copper, which was completed through a constitutional reform approved by Congress on July 11, 1971. To break monopolies are also beginning to buy shares through the market rules to shareholders of private banks, earning 57% of the bank in state hands. The 3 years of the period of Don Salvador Allende Gossen are political and social upheaval. The changes attempt to enter the Popular Unity government in Chile are far from international economic policies led by the United States by President Richard Nixon (1969-1974). Parallel to the reforms introduced by the Popular Unity, in the 3 years of democratically elected Government, was initiated by a group of Chilean economists an economic policy agenda for Chile to make its economic latency. This group of economists, who were popularly called the "Chicago boys" were students, mostly from the Catholic University of Santiago, which were scholarships to the University of Chicago to pursue postgraduate studies. Teachers of Milton Friedman these economists were (Nobel Laureate in Economics 1976) and Arnold Harberger (UCLA professor and University of Chicago). The latter considered the father of the group "Chicago boys."
"The most outstanding problems of Chilean economy during the last 30-40 years have been: 1. Slow growth rate; 2. Statism overstated; 3. Lack of productive employment; 4. Inflation; 5. Backwardness of agriculture; 6. The existence of extreme poverty in large sectors of the population. These problems in turn cause unwanted effects such as:
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1. Misallocation of productive resources; 2. Limited external sector development; 3. Low rate of growth of productive resources; 4. Action misuse of powerful groups; 5. Fiscal deficit; 6. Frequent change of economic policies; 7. Misuse of political power; 8. Deficit food supply. "41
The value of things and the city "The ability of all products, whether natural or industrial, to serve for the subsistence of man is called utility value, and the ability to change one another, 42 exchange value" In the book "Philosophie Misre of" Karl Marx, criticizes the economic and philosophical arguments given by Pierre-Joseph Proudhon in Philosophy of Misery. The concepts given by Proudhon Marx gives the opportunity to declare states of their own observations about the role economy and value. You have to be a constant question about the world around us, and its transit through the various turbulence that manage in today's society driven by the concepts of the economy and exchange: What is the value of the elements around us. A first approach is to differentiate the type of value according to its use for the good of their own. In this may be identified a utility value and exchange value. Taking the same example of the house for both families involved, the exchange value will be the same, and will be partly driven by the laws of market, interest rates and the valuation proposed by the bank, will be this one market value, tradable and interchangeable with anyone who wants to participate in this negotiation.
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"The product offered is not useful by itself. The consumer is the one who provides useful, therefore, although it was recognized to be useful, is not only "43 useful But in this sense, the utility value that is one thing and its exchange value, in the sense of idea can be consistent or diametrically opposite. This idea, Marx adds, "timing is everything, the man is nothing, at best, is the time frame. It's not about quality. The number one decides everything, hour by "44 hour, day by day, this is the result of modern industry An earlier idea to Marx, is expressed by the British economist David Ricardo, saying "Things that are recognized as useful derive their value from two different origins: first of its scarcity and its work done to acquire them. The value of some things just depends on their scarcity. Another may not be increased, its value "45 can not lose because of their greater abundance The value of utility and the fees to be used are currently the market. It regulates the events among men, their organization. Then there are inconsistencies and disturbances in the political discourse between what should be the best, to which should be as you can. So we come to a trial about the good material, and gives market value to material, such as land value, which makes some cities such as Santiago de Chile move geographically, their centers move to other areas . The city really moves as it changed the value of soil. Intensify and combine common interests, politicians, the private and personal purposes. By the market both directly affect interest in the work of what we as a city, or be observers of their simple result.
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PLACE OF VALPARAISO From its value, an aesthetic view 1 An idea about the city space We agree in principle that both the value of things, the utility value and aesthetic judgments occurs in an intermediate space between the person and the object. The object itself does not have any beauty or utility value. This is constructed as the person gets some value for himself or through a trial of this space, the concept is no such assessment. Since then Valparaiso as many cities, we could say that it is metaphysically constructed through these spaces, between man and object, matter stereotomic, between people and events such as gravity, matter, the translucent and opaque, the transparent. It is this space which makes a city is different from another. The way a person on the same concept, make judgments of taste that have nothing to do with aesthetic judgments, or the value they give (as one person can independently take a completely different sense of value to someone else) is reflected in a stream of modern psychology, called "flow." From the psychology of flows to environmental positivist psychology. Mihly Csikszentmihalyi, an American psychologist, has worked for years about the state of happiness, and creativity. In this sense, it about how a person feels about the same object "But one person might work love it and hate the Other, one person might enjoy the free time and be bored Other When There Is Nothing to do. So while What we do day in day out to have a lot to do whit What Kind of while we have, how 46 we experience What we do is even more important. " The importance of individual experience is to discover this state of flow that makes you feel full in one place, a space, in what we are doing. In a way that we
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are totally committed to the place or the action you are performing. It's something we've all seen more than once, and is characterized by a feeling of great freedom, joy, commitment and ability, during which temporal concerns (time, food and I) are typically ignored Imagine a city, and imagine this town empty, never occupied. A city built without any person. A city in itself, where physical matter is just that matter in a real physical fact is gravity. But the concept of architecture lost identity of the people. Currently, a person would fail to distinguish or locate sure these items mentioned in Santiago today. The growth of the city has to delete these spaces built at a time when the life of the city. Sergi positivist psychologist Varela, in his lecture on positive environmental positivist psychology, delivered on September 25 in Valparaiso, Manfred mentions the case of the German Camelle as a person and their relationship where they live. Manfred lived for 30 years in a very rustic little cabin (called in Spain a shack) just six square meters facing the sea in the coastal town of Camelle, in Galicia. He wore loin cloths, not wearing shoes and ate basically what gave him the sea. "Every day he ran five miles and swam in the icy waters of the Costa de la Muerte. He charged one euro for those who wanted to visit the quirky museum that had created with their hands and throwing things that the sea to the beach or fishing nets: fish skeletons, shells, stones stacked. Despite his eccentricities 47 and his solitary nature, Man "as many called it-was a very prized camels." In November 2002, the single-hull tanker Prestige, carrying 77,000 tons of fuel oil had an accident where one of their tanks exploded spilling 63,000 tonnes of fuel oil off the coast of Galicia. The newspaper El Pais in Spain, in its issue of the day March 21, 2009 makes the following findings of Judge Carmen Veiras, who took the matter of accident: "There can be understood that the decision to remove the ship were a factor of increased risk already generated," the judge concluded. Supports its decision on an expert report that estimated that the Prestige, the accident on November 13, 2002 compared to Finisterre, and immediately poured into the sea 23,500 tons of fuel. Carmen Veiras further finds that the Spanish government "drove right information" on damage and condition of the boat, so did well to reject it was brought to a port of refuge. "There was no other choice but to deny"
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25
In this accident the house he had built Manfred in the course of his life was totally destroyed by oil pollution off the coast of Galicia. This accident has been described as one of the most expensive and the most serious ecological accident maritime. Only the cost exceeds the Columbia shuttle disaster and Chernobyl. Manfred's house has a living. Relationships established between the environment and people. (fig6) Camelle Cost, Museum House of Manfred. Fuente: http://nuncamais.lacoctelera.net/ (fig7) Camelle Cost, Museum House of Manfred. Fuente: http://nuncamais.lacoctelera.net/
Aesthetic
appreciation
"Evolutionary Perspective: An adaptive function recognizes a better past Understanding the environment: Try to understand the environment. They act on the man some variation brought to presence by personal experience. "
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This aesthetic appreciation, as has been revealed before, the taste starts itself and how forces make sense signals, and give it to some extent, an appreciation of greater or less according to each person. Thus a place is more or less beautiful, aesthetic appreciation as well as a force making, one that seeks to identify with the place. Memory elements or situations that make him feel his, territorialise. We can cite as an example of this point, a pair of lovers who like the sunset in one of the lookouts on the cliffs of Valparaiso. The trial of taste in the colors and the sunset made in a particular afternoon is sublime character in the events of the moment between lovers. However, this assessment is not an aesthetic view, nor is intended to be, is simply an appreciation of inner beauty of a trial because of taste.
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Will it be a search for aesthetic judgments about the concept, the idea that makes this evening, in a particular place is beautiful and produces something in the relationship of the couple and each one independently. At this point, it is noteworthy that among many viewpoints of the city, the vast majority have one in particular who likes more than another, that makes the difference, which is fit between your experience and feeling of pleasure. Pleasure or distress occurs. A work of architecture has to look beyond the reality in the intensified, and ceases to be a receptacle of wonder at his surroundings. In the words of Alejandro Aravena, architecture "is not a machine translation uses a form. While the architecture reflects an existing reality (not invented to host life), a work 50 always produces something that was not there before she appeared "
In cartography begins to visualize the growth of the city both to the sea, as the beginning of living in the foot and slopes of the hill.
(fig8)
1835
(fig9)
1838
(fig10)
1850
(fig11)
1879
(fig12)
1887
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(fig13)
1895
For early twentieth century, the average width of the city does not exceed 750 meters. This means a little less than 6 blocks checkerboard type, planning typical of traditional cities of the Spanish colony in the shape of a chessboard. This checkerboard plane was originally used in Greek cities and the settlements of the Roman Empire. However, even Valparaiso did not have a jetty and unloading was done by smaller vessels that were located on the sides of the ships lying in the bay. The entire activity of the city depended, of course, the arrival of the ships and their absence gave way to a sleepy, boring town. In the words of Vicua Mackenna, Valparaso like the rest of the country slept their "colonial dream."
4 The architecture and beauty of Valparaiso "But though opposites, both as intensified the contradiction of reality are terms of a single polarity, are on the same line, or at least, in the same plane. The architecture should not remain in the same plane of reality to agree with the world means dissolving into the naturalness of life or uses. The architecture is not mere receptacle of a situation, or even mere expression of it because she's 51 gorgeous." We have already said something about the place as a physical territory, and work in the physical space as we have not specified the place or that other specific physical space where the beauty in this space between the man and the work comes to be revealed. Contemporary architecture can be improved through is intensifying as the events that happen in the natural as wonderful in the experience of man. He does not invent anything, but reads and gives a new way to how wonderful life will be further strengthened. "The experience of beauty, control, freedom of expression and escape from
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social
pressures"
The physical environment as a source of identity, social identity, place attachment. The environment produces true identity as pleasure and memory. The experience makes us feel part of a place, with a territory. Take a point on the earth. A recognition of the uniqueness, ownership of space to form instead. It does not mean to attribute to the object, but to find the relationship that builds invisible everything else. Therefore, choosing one of these places has more to do with the development of a point which makes it important to the city. There is a sign of the city but the city itself, shown by scales, but that certainly does own the place, event or act which is carried out. Is to express an aesthetic view of the city through a study location There are multiple places you realize the history and culture of the city. In this regard I will take some parts of the city that I find attractive mentioned. Give an account of places where the economy, market and beauty have been brought to presence, and has begun to develop something. The idea is not to reveal the physical place, but getting the social relations that construct the concept of beauty, taking as an honest basis, the market and current policies on growth in Chile. But the beauty of Valparaiso is not a general idea of the city, and may not be a summation of beautiful places, and lost by one side the particularity of being, and at the other end, you lose the vision that encompasses all particularities. Therefore, the search is concentrated more on macro places where things happen, social relations, urban fabric beyond the physical space. They are macro areas of the city of Valparaiso say a condition, a time, a culture, something that gives Valparaiso ID and distinctive element. It is part of the concept of beauty does not know anything about the object itself as a concept does not need to be, as this object, in essence, it's part of the world. The idea is to concentrate efforts to get to reveal the place where the acts occur in the interstices between the physical volumes that make up the city. For this I must point out that the purpose of aesthetic judgments will be primarily to create knowledge through criticism, this being a reason that happens when there are opposing views or different on the same trial.
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All those involved are based on the screening of the concept through his own intellect. And this intellect has no doubt built by the culture, life and education of each man. The aesthetic view is based on the culture of every man who gives, and becomes universal, or want to be, while attempting to create knowledge of space through the object, place or relating studied. It is this act of life that makes it universal to us all. In Valparaiso there are many places where events happen in life. But I also happen to a better way in this city, thus: What is the Beauty of Valparaiso?
This means that the basis of beauty, albeit a universal, from a trial of taste, will have different guidelines on how to progress each of the understandings. Thus, our view of the aesthetic beauty of Valparaiso is not totally free, as I mentioned in the chapter "the purpose of aesthetic judgments" but also addresses limitations that are natural and not imposed. The search for what makes beautiful to Valparaiso will be understood through a sieve own culture, which is of contemporary architecture, the beauty of city. 6 Places Valparaiso is a sequence of geometric forms arranged so that one fails to understand, in a glance, the entire city without seeing the entire city of course (fig14) FUENTE: http://valparaisoenfotos.blogspot.com/ Its funds is hidden inside broken and the streets of the plan where it happens every minute of city life. Why there are so many places as there are people in town. From home, the precariousness of the steep hills, to the palaces of the city. That is why a decision of this thesis is to identify all such architectural sites, to describe or even mention. On the contrary is to find some examples of city of Valparaiso to
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say something, and his, to judge its aesthetic beauty, in the contemporary which we live. In other words, that is the beauty of Valparaiso, understood in this thesis proposal, which is market and democracy, through a trial. Beauty is in everything that makes up the city, its silhouette and what happens inside. The uniqueness of this city we can see from the outset, a range of possibilities, each in a world of relationships that are becoming more intense, so far as the understanding of these same goes deeper. I therefore wish to make City 3 examples of place where things happen in a magnificent, without ever knowing even if architectural place or not. Plaza Echaurren, initial market, and first port of the city. Instead of founding the Church of the Matrix. "The edges constructed in which case the daily acts of the city." Echaurren Square and the Church of the array form the first Hispanic populated area of Valparaiso, where the dock was located and the food market of the city. So that the sector brings as the first important milestone, its history of more than 500 years. It also called China Town in the amount of bar, brothel frequented by sailors from different sides of the world that once came to stay overnight in the city, while the ships were unloaded and stocked for a new shipment.
(fig15) Imagen de Google Earth. En amarillo Plaza Echaurren Across the Plaza Sotomayor, a great emptiness that extends from the building of the Navy, at the foot of Cerro, to the dock Prat, one immediately able to see that you are entering into a new place. This is reaffirmed by the similarity of construction time, with this section, not more than 1 km in length, to the Plaza de
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la Aduana, relatively contemporary in its construction. Many were erected after the 1906 earthquake that destroyed much of the city.
(fig16) Imagen de plaza Echaurren, aproximadamente 1876 There are four side streets that cross the port area, from north to south, these being Serrano, White, Condell, and Errazuriz. In the first three one can see a harmonious, geometric forms relatively similar, while the transit through Errzuriz Avenue, the street closest to the harbor and waterfront, seems to be crossing the outer edge of the neighborhood, by contrast between the new port buildings, where buildings are armed, and the Merchant Marine, and a fierce siege, which separates the city from the port area where you store even conteiner portering. (fig17) Imagen actual plaza Echaurren, 2010
From the look
There are places planned in the city where the eye is contained in the perimeter walls deliberately building a great emptiness, as Sotomayor Square, but this is
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an exception to the city. Walking the streets of Valparaiso is constantly losing the vanishing points and horizons. You travel a curved path permanently. And if Echaurren Square is no exception. "Therefore, the form, that form above the landmark complex has to originate and generated at this freedom of form, which is not the desire to create a continuum of appearances based on the reminiscences of works from other eras. If you want to talk about heritage, this freedom of form is the heritage of this city 52 and this place. "
(fig18) One could say that there is a specific point where you can see the whole place, however, by placing one point or another, one may be able to observe all of the objects and place, so that the sides which are not found, appear in the spatial conception of each. It is present without the need to come look at him, since the object is not displayed, but the space in between which we want to say something. It is this space which we recognize and which we may issue a universal aesthetic judgments. In this state, the entire district is shown as one. No one looks into the details of one or other building, but all appears to the observer. This image has to do with the concept of unity, to observe and endorse the full even when you can not see all sides of buildings. The geometries and layouts of each of the streets are grooves through the built volumes. He says this in an average height of a similarity in some types of constructions, the steep streets running up to Cerro Cordillera, or into the creek. As the size and volume, in relation to the measure of man's body. The architecture makes obvious, and it produces something that was not there, and being carried out, produces something new. Echaurren Square is more than a square, is built in a vacuum where they happen estoppel, close to the city. A lot of people thronged its streets and in their seats, many are, rest, chat with friends, buy buns and coffee to spend the cold evenings. pg. Sidewalk 10
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Standing water after a rain. Reflections clearly show themselves as such, therefore their unequivocally opposed to the spots. All this says to go in the dispute of the visible. But the modesty which lowers his eyes and transparency that is there through here, they say that the visible is the familiar. The architects will be built in and not in the familiar. So the architects have to fix what they see. Draw. Building a network of real magnitudes. True. The depth, both not get caught in the truth of it.
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Or are walking aimlessly behind the bystanders to call for a currency, which will go to the Liberty Bar, bar Sweden, or any key street to buy a "reed" of wine (over 200cc cup). Other while sleeping on a bench, waiting for someone to go see, to talk or share some food.
Border
(fig19)
(Fig20) Verdulera en los bordes de edificios Archivo propio At the edges develops a permanent retail trade, grocery stores, fish abound in its edges. The fruits in the evening seemed to have its own brightness and color fill the edges of the worn walls of buildings. It appears the precariousness of the construction of small sites within these borders routes. It also recognize certain scents that make sense to remember, bring a presence that is not. This sense is taking a taste, as first trial that catches the viewer. Walking and transit through
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its streets is actually moving to a bygone era. You go through a neighborhood where everyone knows everyone, or believe to know each other. Many greetings. Echaurren Square is a social center, meeting and meeting. (Fig21) / (Fig22) Then we can talk about the events at the edges. In the inner relationship outside where the acts occur. The outside is the inside edge on all scales of course. Thinking space vacuum built in the town square, the outer edge is one where a person changes space, or feel that opinion is no longer inside the place, but changed to another.
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Of their relationship and bars (fig23) Bar Liberty Archivo propio The state of poverty and marginality in the city it is becoming apparent. The economic problems of families, also triggered by the vices of men who normally converge in Plaza Echaurren, like alcoholism and drugs, make the place also a sad reality of what is also Valparaso. The bars in the sector are so familiar, they talk and live by the grace of the social construction that has been done. In the same customers, that being in the bar, the waiters sometimes do, and invite you to join their table. O come to the table to ask if they can talk to you. It is common to see strangers talking animatedly, sharing a wine or a beer and many cigarettes. It is part of the acts, and could not be given elsewhere, since it is these people, in this place, with roots built, is what creates this beautiful state.
(Fig24) A collection of caps placed on the top of the bar
In a trial of taste can say about the tastes and discomfort of sitting in the inn that often are not very hygienic, and relatively dirty. But the internal conformation is the one that gives warmth. It is the intervention of man as master of his own space he built through years of history and what causes its architectural intervention.
(Fig25) The walls built inside the facade of memories, the history of the city. It's part of rooting for each of the visitors.
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But for the market, is a stationary in time. You do not develop new investment in this sector, the inability even to get clear on how involved this heritage site. Leaving aside the regulations, the regulatory plan, sectional drawings and conventions for the protection of world heritage, the city is responsible for the economic recovery of the neighborhood. On the one hand, the recovery of the buildings means a huge economic investment, it is difficult to recover in the short or medium term. Another reason is the lack of serious state policies, on the sustainable recovery of the city, as other assets of the country. Schools of Architecture on the other hand, does not completely take over the city, but scattered efforts focus on different issues, among the 4 existing architecture schools Thus the port area and built the vacuum's beauty is more suited to your city, your own living identity, reflected in its people, relationship, inside, in bars. There is no process of understanding the concept of what this place in the city, but life that is generated in the relationship built in the intermediate spaces between inside and outside, between the inside and the wall. Physical walls are planned and built the edge stereotomic, intangible. The interiors of the bars are in turn the edges of the wall being built inland, and you never lose the notion of belonging to the neighborhood. To revitalize the area with smaller shops, revitalizes the tissues of the city. It is not about moving people and leave the center of the city, or a difference of the inhabitants, as has been done in other heritage places, but on the contrary, is to make the current inhabitant, the power of the city. They are the inhabitants of Valparaiso that make this city different from other Pacific ports such as San Francisco and Callao. "Hill is a neighborhood gay garden, the neighborhood of Matrix groups are built with densely poor and crowded, the Cordillera mountain character achieves within an urban-order spacing constructions "
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The property then has to be related, beyond the conservation of the physical spaces, also of the conservation and appreciation of the social spaces that are now happening, as these relationships are those in the future also produce
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changes in relations between man and the city. But part of the arrest built, and not from outside. It is to recognize the values of city and village life. Part of feeling in the world, belonging to a place. Is something that has universal character, as people passed, leaving construction also social relations, and customs passed down from generation to generation. Christopher Alexander, in his book "The Timeless Way of Building" works the term "quality without a name" as what makes a place come alive, and that this is an entirely objective. "You never repeats (quality) because it always takes its form from the specific site of occurrence. In a place is serene and another storm, in one person is neat and another disheveled, in a home is light and another dark, in a room is soft and quiet, another strident. In a family is the love of hiking, another for dancing, another for poker, in another group of people has nothing to do with family life. This is a subtle kind of freedom from internal contradictions " The aesthetic view is to show that "subtle sort of internal contradictions" that talks about life and architecture of Valparaiso in a clear manner. That is why we say what is beautiful The architect should take care of these relationships, for when I played with a project in this section of the city, is in a way, to reaffirm relationships, and enhance further. This trial is no longer taste, because no subjective basis, though its genesis was well. His reasoning is performed by observed facts.
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MALL "BARON PLAZA" And the coast of Valparaso "The need for a contemporary aesthetic judgments that leads us to work the market and democracy of today" "Market and beauty are so different. Beauty is everywhere, is immaterial, in memories, everywhere. The market is a way of living of citizens with degrees of freedom they have. And if you try to compress a lot you're going to slip away, and will appear cocks abusers and other law-abiding, and abusers will probably go much better. "
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PLACE AN APPROACH (Fig26) Google Earth image. In yellow instead of project intervention. In the upper shore of the image, remains of the former railway turntable The sector of the coast of Baron comprises a region extending from the turntable of the former railway station of the State, to the warehouses Simn Bolvar, having an area greater than 1.2 km in length. This area, since 2005 has been in dispute for the way in urban development of Valparaiso, as the port concession and investors proposed to create a business
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area within the coastline, with trade, services and pedestrian areas, with an investment 100 million dollars (Fig27) Current avenue linking to Muelle Barn-Caleta Abarca, seen in this image. Personal file, March 2010 In this section, as the regulatory plan of 1984, was to work eminently port. Therefore for this project would also require zoning changes and special sectional drawing of the area. In 2009, after 4 years, the council welcomed the project with modifications. The land, owned by the Company Puerto de Valparaso (EPV), were awarded to economic group "Grupo Plaza Mall" to install a shopping center and tourist infrastructure, gastronomy, cultural and real estate up to 10.8 m, including two squares and a coastal walk. The initiative includes an investment of U.S. $ 100 million in an area of approximately 20 hectares.
fig28
Image of recent developments of the project. It is developing a new architectural design to present to the City Council to be approved or rejected again. Source Newspaper "El Mercurio de Valparaso".
Fig29 Image of the inside of the former Railway Turntable, declared National Monument by DS 1552/1986 on 03 December 1986. Personal file Within the heritage that is in the sector with the turntable for locomotives of the former railway station, which was the first railway line between Valparaiso and Santiago, founded in 1886. Also survives the tower of the station was Baron de Valparaso historical monument on October 24, 1972, and is located at the beginning of the avenue Spain. This tower is the only part that still exists in one of the wings of the buildings that had been originally the railway station between Santiago and Valparaiso.
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Fig30/31/32 Clock Tower of the former Railway Station Baron. Historic Monument, 1972. Personnel file. The station, like today, was located in the neighborhood called "El Almendral". The tower is about 15 meters high, is built of mortar and brick and its roof is made of wood, galvanized iron and tiles, at the top has a clock in three areas, one facing the Baron, the other at sea and called Yolanda last sector. The clock, made in England retains its original machinery. You are currently developed and pipeline area protection Baron Clock and what is the edge-edge. Work corresponded to a study of the history of the station of Baron. This has an approximate area from the present Baron station, located next to the road junction, to the Turntable, located in front of the entrance of the Quebrada de la Cabritera. It is in this area where is located the station clock. It also took into account the ideas of power project in the future, perform an underground road link from Spain to Valparaiso Avenue, and on its surface pedestrian and commercial buildings, as proposed by the riverside city, and the final stages of Merval (currently developed the 4th stage of the master plan). (Fig33) Protection Area proposal to the National Monuments Council Extract film, Year 2009 (Fig34) Boardwalk current image. (Fig35)
Event of the market: This is where an aesthetic view is valid assuming the role of the importance of economy, development of the city. Private enterprise seeks areas where it can develop its projects, count as road infrastructure, central, and connection hubs
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in the city. So are places, then transformed through politics, the development of views, and economic pressure exerted to the municipal or city government, to implement them. Fig36 Render image of the project proposal of the "Mall Plaza. http://www.plataformaarquitectura.cl The permanent absence of aesthetic judgments in the city can transform this Valparaso, on anything, so there is no real underpinning to propose something, but is discussed in the absence of anything better, or worse, to generate a trial beyond the technical. It is no use talking about heights, typical areas, and conservation if there is no place to raise the architectural heritage as the city really. Valparaiso is seen today from two points of view without agreement yet. On the one hand there is the protection of heritage, the physical state of the city buildings as sculptures. Conservations parameters are established, from buildings to typical areas established by the National Monuments Council, for the municipality and Unesco. On the other hand, in parallel, the market wipes out what you can, defining beauty as well. Knowing this thesis, it is said that the good should aim for beauty, or try to approach him, but not vice versa. The beauty is not necessarily good, nor functional, as the trial of the logical understanding is not an aesthetic view, which we answer. It is this reason that forces a criticism of proposals that try to do in the city. The market provides a solution to the priority of its own spectrum. Utility value given to the ground where it is built, called Value of Land, begins to govern certain conditions to invest or not in a sector of the city. "The main factors affecting the valuation of the land are: - Location: road access, movement, commercial equipment and Communal, and environment. - Use and occupancy of the soil according to the respective current regulatory plan. Extension, front, bottom and surface shape.
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- Position and orientation: where to stay the face of the project, How and how much will light units to build, view the Present and in the medium term. - Number of roles involved in the area of land, among others. " 52 The draft Square Mall, an area of 20 hectares, the connection is assured since the knot baron, named after the road junction where it joins the avenue that connects Spain Via del Mar, Valparaso Avenida Errazuriz that connects with Access Port and South of the City, and finally Avenida Argentina, linking Santiago de Chile with Valparaso. To this we must add the connection of the railroad in the original layout of the road, which connects Valparaiso to the inner city, and Santiago, although the latter only as a cargo.
Fig37 Nudo Baron road image. In contrast, a glazed tower, construction of houses in the hills and the upper node vial. Personal file. The site is also one of the most privileged of the city. The project consists of nearly 500 meters long on the coastal edge of the city. This border is one that has been modified over 500aos, since the arrival of Juan de Saavedra in discovering Quintile Bay. Fig38 Old pier's edge. Early 1900s Fig39 Old passenger pier. Early 1900
Fig40
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Coastal Current ride at the start of the knot Baron North. Personal file Fig41 Render Image Project in 2007. Is currently developing the draft as amended.http://www.plataformaarquitectura.cl It this constant change, where the city is doomed until the sea is today has lost Valparaiso. Currently, this semi-enclosed coastal edge to the general public as part of port terminal operations. Is to achieve universal status of beauty in Valparaiso, calling to be good and sustainable, through an aesthetic view is, in turn, a new type of view, since we can not ignore from now the market nor to democracy that is the active participation of the inhabitants of the city
Fig42 Report explaining the project. Baron access from junction area to edge.http://www.bordecostero.info
Where
space
is
constructed
which
is
rooted
architectural
place?
Clearly, this continued lack of aesthetic judgments of the coast of Valparaso, leaving the market can officiate as a guarantor of "good" for the city without criticism. It is essential for the generation of a new critique of Valparaiso, this is based on concepts, which remain weak into the city. The object itself is not beautiful as we have seen, but that this trial occurs in the intermediate space between man and object. That takes care and manages to
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provoke something inside himself. It is in that place where the trial occurs. It is justified to consider what makes this place special, different, wonderful, and shape in the office of the architect. Their ultimate goal is to create integrated packages, beautiful, firm Enhance the interior space and shape to life is the task of the work. And you can generate economic sustainability of the project, so that the economic and financial basis of the draft is not the determining factor, but a natural finish and opinion to reach a state fair of form, for the city of Valparaiso and not for another. The root is what ultimately will tell us how beautiful is created on this edge. The moment's walk, and relationship with the city, and not to become a new city wall, but should be part of treating the edge, an edge permeable construction. Find that subtle contradiction of the internal forces, is the unmistakable sign that an aesthetic judgments has been founded to the coastal edge. The beauty of the edge of Valparaso lies today, in how we see our city today.
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CONCLUSIONS The Beauty of Valparaiso, conclusions
"A building or a city will be alive only insofar as they are governed by the timeless way. 1 This is a process that extracts the order only of ourselves, can not be reached: occur spontaneously, if we let them. The Quality To access the timeless way we must first know the quality without a name. 2 There is a central quality which is the fundamental criterion of life and spirit of a man, a city, a building or a wilderness. This quality is objective and precise, but no name. 3 The search of this quality do in our own lives is the central search of any person and the essence of the individual history of each person. It is the pursuit of those moments and situations in which we are most alive. (...) 8 Where a building has this fire, becomes part of nature. Like the waves of grass or leaves, their parts are governed by the infinite play of repetition and variety created by the fact that everything passes. This is the actual quality "
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Tell the city that makes its quality or not being beautiful is actually a work process. This process should look for what produces the life of the city. And in this, revealing the places that make a different city, which houses and supports the actions that follow. And if they are so wonderful, we could be facing a beautiful act of being in the city. Valparaiso is an architectural place, built by various events and smaller venues. The city's importance lies in what happens between walls, between interior and exterior, that is where life happens in the city. It is where the architecture makes sense in Valparaiso. This does not mean that all ways to make buildings are identical. It means that the center of all acts made and construction in the center of all processes of growth achieved, but there are a million different versions of these acts and processes, there is a fundamental constant feature that is responsible for this achievement. While this way has acquired thousands of different ways at
46
different times and in different places, in the center of all there is a constant center inescapable. " For this very reason, the cities are all distinct. We then find that some of this beautiful state of what is contained in Valparaiso reality in a simultaneity of events and spaces, which are built both in the dwelling of the hills, in its distinctive buildings in their neighborhoods at its edge in the life of the hill and back broken. In what looks, and acts as lookout to the sea. The state of beauty lies in the trial itself, and that is the aesthetic universal. 57 "Each of us wants to be able to make life much like a building or part of a city" Thus, the architecture, which in itself is universal, it would also be prosecuted universally, it means so logical, subjective and aesthetic. A trial on the city we want to bring out the opinion and the opinion of each of the actors, immeasurable but this order is processed, but is essential to have the entire range of possibilities that give reason for criticism architecture. "The art criticism to the extent that is characterized by the emission of a trial takes place in proximity to the theory, aesthetics and history. However, this trial should not be understood only in its sense of denial and acceptance that are 58 better or which are worse. " Criticism has its intention to build new knowledge, as this is based on objective aspects, and these are passed through the sieve of understanding. It is the way of the objective to the subjective. Then, the beauty of Valparaso lies in the realization of a critique of it, of what exists and recovery and say what we own. It is with this work where we can make aesthetic judgments that we open the door to criticism. It is a step that this thesis could not be taken as an end. The purpose of this thesis, the point where I have achieved to develop, is to demonstrate and bring to the table the need to start making a contemporary aesthetic judgments, which should be the basis of architectural criticism of the city. Critics, in contrast to the aesthetic view, if it allows the knowledge of the object, its existence, and what happens in it. This seminar is based on relevance to the question of the beauty of Valparaiso, in relation to aesthetic judgments, market and political changes as they happen to build a city. "In fact, although we have ventured into the depths of the processes by which it is possible to give life to buildings or city finally happens that this knowledge alone brings us back to that part of ourselves that was forgotten" 59
47
"Put it on end, bring up a kind illustrated, and takes for example the National Stadium and the neighborhood, and says" this is a country in 1940 "takes you to the station and say" this is a country in 1900 "and you take it to Kennedy, "This 60 is an ultra-modern city, as Chinese cities"

The city of Valparaiso is beautiful as a unit in itself, as this is presented to the inhabitant as a complex architecture that accommodates a variety of actions. The towers of rooms, imports of styles, the constraints of the marketplace, make you leave Valparaso scattering, which is losing its unity. The sites chosen to say something of Valparaiso through them, have a lot of the old city, as is the case of square Echaurren have the situation prevailing in the market as waterfront and have it's roots in the form, the place of slums in the hills
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GENERAL BIBLIOGRAPHY Beauty 1 KANT, Crtica al juicio esttico, p. 32 2 KANT, Observaciones sobre lo bello y lo sublime, p.2 3 F. SCHILLER, Callias o sobre la belleza, pag4 4 F. SCHILLER, Callias o sobre la belleza, pgina 8 5 GODOFREDO IOMNI, Por qu, Cmo y Cundo hay Arte, pagina1 7 GODOFREDO IOMNI, Por qu, Cmo y Cundo hay Arte, pagina2 8 DAVID HUME, Ensayos morales, polticos y literarios, c. 1745. 9 KANT, Observaciones sobre lo bello y lo sublime, pag3 10 KANT, Observaciones sobre lo bello y lo sublime, pag3 11 KANT, Observaciones sobre lo bello y lo sublime, pag3 12 F. SCHILLER, Callias o sobre la belleza, pg. 5 13 KANT, Observaciones sobre lo bello y lo sublime, pag4 14 KANT, Observaciones sobre lo bello y lo sublime, pag4 15 KANT, Observaciones sobre lo bello y lo sublime, pag4 16 ALBERT CAMUS, El Verano 17 F. SCHILLER, Sobre lo sublime, pg. 222 18, KANT, Crtica al juicio esttico, pg. 33
19, KANT, Crtica al juicio esttico, pgina 33

20 KANT, Crtica al juicio esttico, pgina 33 21 F. SCHILLER, Callias o sobre la belleza. 22 MARCO VITRUBIO, "De Architettura Libri Decem", 23-27 AC. 23 KANT, Crtica al juicio esttico, pgina 41. 24 KANT, Crtica al juicio esttico, pgina 78. 25 KANT, Crtica al juicio esttico, pgina 15. 26 F. SCHILLER, Callias o sobre la belleza, pgina 35. 27 JOSEP MARIA MONTANER, Arquitectura y Crtica, pgina 11. 28 GODOFREDO IOMNI, Por Qu, Cmo y Cundo Hay Arte? pgina 3. 29 KANT, Crtica al juicio esttico, pgina 49. 30 GODOFREDO IOMNI, Por Qu, Cmo y Cundo Hay Arte? pgina 4. 31 JOSEP MARIA MONTANER, Arquitectura y Crtica, pgina 11. Market 32 ALFRED MARSHAL, economista britnico (1842-1924) 33 LIONEL ROBBINS, economista britnico (1898-1984) 34 TARRAG SABAT, Fundamentos de economa de la empresa. Librera Hispano Americana, Barcelona, 1986.
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35 MARA CONCEPCIN VERONA MARTEL, From general economics to financial economics: a comentary, Impresin ISSN 0121-5051 36 ADAM SMITH, Una investigacin sobre la naturaleza y la riqueza de las naciones, 1776 37 ADAM SMITH, Una investigacin sobre la naturaleza y la riqueza de las naciones, 1776 38 PILAR GARCA JORDN, Desarrollismo e Imperialismo, CRONICAS DE AMERICA, pg. 640, 1990, plaza & janes editores SA, Espaa. 39 PILAR GARCA JORDN, Desarrollismo e Imperialismo, CRONICAS DE AMERICA, pg. 640, 1990, plaza & janes editores SA, Espaa. 40 cf. Repblica Socialista de Chile, 1932 41 PABLO BARAONA, SERGIO DE CASTRO, SERGIO UNDURRAGA, EMILIO SANFUENTES, EL LADRILLO, Base de la poltica econmica del Gobierno Militar de Augusto Pinochet, Santiago, 1973. Edicin de 1992, Centro de Estudios Pblicos 42 PROUDHON, tomo I, cap II. Extrado de Misre de la Philosophie, KARL MARX, editorial gradifco, Buenos Aires.pag 18 43 KARL MARX, Misre de la Philosophie, editorial gradifco, Buenos Aires.pag 25 44 KARL MARX, Misre de la Philosophie, editorial gradifco, Buenos Aires.pag 40 45 DAVID RICARDO, Principes d economie politique, Tomo I, Paris 1835. De Valparaso, Un lugar. 46 M. CSIKSZENTMIHALYI Finding Flow: The Psychology of Engagement With Everyday Life, 1997, cap2 The Content of Experience, pg. 20) 47FUENTE: http://nuncamais.lacoctelera.net 48FUENTE: diario El pas, edicin impresa y digital, 21 de marzo de 2009, cuerpo Espaa. 49 SERGI VARELA, Psiclogo Universidad de Barcelona, Conferencia Psicologa Ambiental Positivista, Septiembre de 2009, Universidad de Valparaso. 50 SERGI VARELA, Psiclogo Universidad de Barcelona, Conferencia Psicologa Ambiental Positivista, Septiembre de 2009, Universidad de Valparaso. 51 ALEJANDRO ARAVENA, Hechos de la Arquitectura, subtitulo Superacin de la Realidad, pg. 18.
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52 ESCUELA ARQ UCV, Recopilacin Visiones de Valparaso, 1987. 53 ALBERTO CRUZ, Arquitecto, Forma y figura, 1982.
54 RODRIGO PREZ DE ARCE Valparaso, balcn sobre el mar.

55 PABLO BARAONA, Entrevista 56 HERNN MARCHANT, Tasador y Consultor inmobiliario, http://www.portalinmobiliario.com 57 CHRISTOPHER ALEXANDER El modo intemporal de construir Editorial GG, 1979, pg. 12 58 CHRISTOPHER ALEXANDER El modo intemporal de construir Editorial GG, 1979, pg. 22 59 CHRISTOPHER ALEXANDER El modo intemporal de construir Editorial GG, 1979, pg. 24 60 PABLO BARAONA, Entrevista
51

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THE BEAUTY OF VALPARAISO Beauty, Market and Democracy in Contemporary Architecture EURAU 10

Carlos Eaton Mondaca

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

body of knowledge in pursuit of truth (the sublime )

4 Aesthetic Judgement (Man> taste <object)

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

(fig1) Stair to cript

(fig2) Ramp access from admission

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

(fig3) Gate access from the inner ramp

(fig4) View from the entrance to the altar

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

From the look

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

(Fig24) A collection of caps placed on the top of the bar

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

CONCLUSIONS The Beauty of Valparaiso, conclusions

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

19, KANT, Crtica al juicio esttico, pgina 33

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture

54 RODRIGO PREZ DE ARCE Valparaso, balcn sobre el mar.

The Beauty of Valparaiso: Beauty, Market and Democracy in contemporary Architecture