Some authors claim that the term kitsch has German origins and arose in artistic vocabulary around 1860 from the verb kitschen/verkitschen (to cheat, to sell something instead of something else). Others, such as Guimaraens & Cavalcanti (1979), affirm that the term comes from the English language, from the word sketch. In the second half of the 19th century, when American tourists wanted to buy a work of art at a cheap price, they asked for a sketch.
The controversies surrounding the term originate from its original meaning. However, despite its complexity, it can be understood that its emergence occurred at a time when industrial production tried to imitate craftsmanship, reinforcing the idea of reproducibility and democratizing culture and economy. In this sense, to reach the masses, the quality and philosophical depth of the objects are put aside, often distorting the aesthetics and meaning of their original model. The theorist Walter Benjamin - a great enthusiast of the theme - stated that this style aims to bring instant gratification to spectators without investing intellectually in it, like a comfortable and direct interpretation of superior forms of art and ornamentation. Therefore, through the absorption of typical elements of the wealthier classes, it is possible to understand kitsch also under the desire to achieve a higher socio-cultural status, linked to a complex process of elite renewal.
In practical terms, kitsch can be applied to different disciplines, such as literature, music, clothing, interior decoration and architecture. Concerning objects or buildings, those that present any of the following characteristics can be considered kitsch: imitation (of a work of art or another object), exaggeration (in colors, textures, materials or proportions); occupation of the wrong space (a wheelbarrow used as a flowerpot on a construction site) and loss of the original function (a pitcher shaped like a pineapple, for example).
In architecture, the kitsch style is often associated with commercial buildings such as shopping malls, hotels, casinos and theme parks, which seek to attract the public's attention with extravagant façades and flashy lighting. In this sense, some common characteristics of kitsch architecture also include exaggerated decorative elements such as sculptures, frames and ornaments; a mix of architectural styles such as neoclassical, baroque and rococo; use of shiny and reflective materials such as glass, mirrors and metals; emphasis on the visual aspect and ostentation of wealth or opulence.
As a controversial term, despite kitsch often sounding exaggerated and tacky, it can also be understood as a form of artistic expression that invites reflection on the culture and values of a particular time or society, whether through satire or not. In this sense, it is worth noting that similarities can be found between kitsch and the postmodern movement in which there is a search for the symbolic in a reaction against the rigid norms of modern functionalism, seeking to generate individual differentiation and social affirmation.
There are many iconic examples of kitsch architecture around the world. The city of Las Vegas has many of them, materializing the term in an ideal of social ascent with buildings that refer to extreme luxury. Recreations of existing monuments around the world, such as the Eiffel Tower or the Statue of Liberty, are also seen there, inserted among other buildings that compete with each other, generating a chaotic environment.
Throughout the centuries, kitsch manifestation in architecture has never emerged as a defining movement, however, it has always remained present, bringing important reflections on the role of mass culture as a frontier territory between erudite and popular art and architecture.
