CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY

CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY

The emblematic palace-cinemas which accompanied the rise of cinematographic exhibition in Chile during the 20th century, reflect a widespread practice codified by a series of exhibition halls that inherit the tradition of a theatrical stylistic architecture. However, this account does not take notic...

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Main Author: Vizcaíno, Marcelo
Format: Online
Language:spa
Published: Universidad Diego Portales 2020
Online Access:https://www.revista180.udp.cl/index.php/revista180/article/view/746
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id oai:ojs.revista180.cl:article-746
record_format ojs
institution Universidad Diego Portales
collection OJS
language spa
format Online
author Vizcaíno, Marcelo
spellingShingle Vizcaíno, Marcelo
CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY
author_facet Vizcaíno, Marcelo
author_sort Vizcaíno, Marcelo
title CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY
title_short CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY
title_full CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY
title_fullStr CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY
title_full_unstemmed CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY
title_sort corner-cinema: a programmatic hybrid in chilean’s urban memory
description The emblematic palace-cinemas which accompanied the rise of cinematographic exhibition in Chile during the 20th century, reflect a widespread practice codified by a series of exhibition halls that inherit the tradition of a theatrical stylistic architecture. However, this account does not take notice of another kind of halls built during the same period that entails the development of an unprecedented typology: the corner-cinema. Identified as a programmatically hybrid building, the latter incorporated specific spaces for commerce and housing in addition to the projection space, resulting in an architectural strategy that would anticipate a response to urban density. Recognizing that distinctive feature, this article exposes and classifies a set of cinemas built in Santiago and other Chilean cities that share similar characteristics in terms of their programmatic mixture and formal structures, composing a catalogue of singular works that reveals their distinctive aspects as an experience of disciplinary innovation. Located at the corner of a block, these projects not only fulfilled the requirement of modernizing the places for films as the 1920’s cinematographic industry demanded, but also constituted a timely response whose logic promoted a new way to build the city. Based on this evidence, the historical perspective implied by the typological approach of this analysis provides a more general insight about the role of architecture and its ability to perform as an active component in the configuration of urban and social environment.
publisher Universidad Diego Portales
publishDate 2020
url https://www.revista180.udp.cl/index.php/revista180/article/view/746
work_keys_str_mv AT vizcainomarcelo cornercinemaaprogrammatichybridinchileansurbanmemory
AT vizcainomarcelo cineesquinaunhibridoprogramaticoenlamemoriadelaciudadchilena
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spelling oai:ojs.revista180.cl:article-7462020-08-03T14:05:34Z CORNER-CINEMA: A PROGRAMMATIC HYBRID IN CHILEAN’S URBAN MEMORY CINE-ESQUINA: UN HÍBRIDO PROGRAMÁTICO EN LA MEMORIA DE LA CIUDAD CHILENA Vizcaíno, Marcelo material memory; mixed program; typology arquitectura memoria material; programa mixto; tipología The emblematic palace-cinemas which accompanied the rise of cinematographic exhibition in Chile during the 20th century, reflect a widespread practice codified by a series of exhibition halls that inherit the tradition of a theatrical stylistic architecture. However, this account does not take notice of another kind of halls built during the same period that entails the development of an unprecedented typology: the corner-cinema. Identified as a programmatically hybrid building, the latter incorporated specific spaces for commerce and housing in addition to the projection space, resulting in an architectural strategy that would anticipate a response to urban density. Recognizing that distinctive feature, this article exposes and classifies a set of cinemas built in Santiago and other Chilean cities that share similar characteristics in terms of their programmatic mixture and formal structures, composing a catalogue of singular works that reveals their distinctive aspects as an experience of disciplinary innovation. Located at the corner of a block, these projects not only fulfilled the requirement of modernizing the places for films as the 1920’s cinematographic industry demanded, but also constituted a timely response whose logic promoted a new way to build the city. Based on this evidence, the historical perspective implied by the typological approach of this analysis provides a more general insight about the role of architecture and its ability to perform as an active component in the configuration of urban and social environment. Los emblemáticos cines-palacio, que acompañaron el auge de la exhibición cinematográfica en Chile durante el siglo XX, reflejan una práctica generalizada y codificada por una serie de salas que heredan la tradición de una arquitectura de estilo teatral. No obstante, ese registro no da cuenta de otra clase de salas construidas en la misma época y que denotan el desarrollo de una tipología inédita: el cine-esquina. Identificado como un edificio programáticamente híbrido, este último incorporó espacios destinados a comercio y vivienda sumados al espacio de proyección, derivando en una estrategia arquitectónica que anticiparía una respuesta a la densificación urbana. Reconociendo ese rasgo distintivo, el siguiente artículo expone y clasifica un conjunto de cines construidos en Santiago y otras ciudades chilenas que comparten características similares en cuanto a su mixtura programática y estructuras formales, componiendo un catálogo de obras singulares que revela los caracteres que las distinguen como una experiencia de innovación disciplinar. Emplazados en la esquina de una manzana, estos proyectos no solo cumplieron con modernizar los lugares para proyectar películas como lo exigía la industria cinematográfica en la década de 1920, sino que además constituyeron una respuesta cuya lógica promovió un nuevo modo de construir ciudad. Atendiendo esta evidencia, el texto ofrece una perspectiva histórica de los casos analizados bajo un enfoque tipológico, articulando una reflexión más general respecto del rol de la arquitectura y su capacidad para actuar como un elemento configurador del contexto urbano y social. Universidad Diego Portales Fondecyt Regular Nº 1180342: “Memoria material, cultural y audiovisual de las salas de cine chilenas (1930-1951)” 2020-07-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revista180.udp.cl/index.php/revista180/article/view/746 10.32995/rev180.Num-45.(2020).art-746 Revista 180; Núm. 45 (2020) Revista 180; Núm. 45 (2020) 0718-669X 0718-2309 spa https://www.revista180.udp.cl/index.php/revista180/article/view/746/439 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/746/1462 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/746/1573 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/746/1574 Copyright (c) 2020 Revista 180 https://creativecommons.org/licenses/by/4.0

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