@misc{10481/65860,
year = {2019},
url = {http://hdl.handle.net/10481/65860},
abstract = {En el año 1956, en plena época de reconstrucción consumista del mundo europeo, el artista
Richard Hamilton realiza el collage Just what is it that makes today's homes so different, so
appealing?; al mismo tiempo, Alison y Peter Smithson llevan a cabo su prototipo House of the
Future, cuya construcción se había previsto que fuera ejecutada integralmente con materiales
plásticos. Un par de años después (1958) la película Mon Oncle de Jacques Tati parodia de
forma cáustica un consumismo tecnologico ampuloso y de sesgo pequeño burgués, a través de
los comportamientos ingenuamente subversivos del personaje principal: Hulot / Tati.},
abstract = {In 1956, at the height of the consumerist reconstruction of the European world, the artist
Richard Hamilton made the collage Just what is it that makes today's homes so different, so
appealing?; at the same time, Alison and Peter Smithson carry out their prototype House of the
Future, whose construction had been planned to be executed entirely with plastic materials. A
couple of years later (1958) the film Mon Oncle by Jacques Tati parodies -in a caustic form- a
pompous and middle-class technological consumerism, through the naively subversive
behaviors of the main character: Hulot / Tati.},
publisher = {Abada Editores},
keywords = {Arquitectura},
keywords = {Cine},
keywords = {Hipermodernidad},
keywords = {Consumismo},
keywords = {Americanización},
keywords = {Architecture},
keywords = {Cinema},
keywords = {Hipermodernity},
keywords = {Consumerism},
keywords = {American way of life},
title = {La villa Arpel: machine à habiter, “donde todo se comunica…” (Mon Oncle, J. Tati, 1958)},
author = {Pizza de Nanno, Antonio},
}