Fyodor DostoevskyDostoevsky told us storiesArchitecture about the social inequalitiesInequality of the nineteenth century; he did so with tales that mix personal reflections and spatial descriptions. His work is mainly studied from literary or psychological approaches, but its representative quality shows us the evolution of other areas: “LiteratureLiterature… becomes a painting, in a certain sense, of course; a picture and a mirror; a mirror of passions and all intimate things: it is instruction and edification at the same time, it is criticism and it is a great human document.” (DostoyevskyDostoyevsky, 1970) BRAT’YA is part of a critical-architectural trilogy that analyzes his narrative techniques, along with those of Marcel Proust and Juan Rulfo, to find and understand people within the environmentEnvironment in which they live. The authors, all of them knowledgeable about the architectureArchitecture of their country, Russia, France, and MexicoMexico, brought us closer to the defense of dignity, artistic creativity, and the link between us and nature. Dostoevsky’sDostoevsky narrative stands out in the first part, and we will focus on it. To approach his thoughts, we read his books and the most relevant biographies, furthermore, we considered it essential, to review how the artsArt have interpreted the spacesSpace, placesPlace and people to which he only referred with words: we show drawings, paintings, engravings, plans of the city of St. Petersburg, plays and films that have been made around his ideas. His writing belongs to another era and modern translations have molded it into simpler forms. To preserve temporal distances, we selected editions from different decades and countries: from the forties; the seventies, when we had a boom in his reading in Latin AmericaLatin America; up to the most recent ones. So, along with observing the beauty of the language, we will also see the selections that we had to make between the different publications, references from his first biographers like the Russian Leonid Grossman, and interventions from scholars and critics from France, Norway, Spain, Argentina, or MexicoMexico. The content is shown in three stages. We expose the social context, connect his stories and novels with architectureArchitecture, and summarize the contributions of the novelist to our area. The second section was created in the following way: we identified his ideas and isolated phrases, organized them into themes, ordered them chronologically, that is, we followed the year of printing, and finally, we linked them through the narrative. DostoevskyDostoevsky left us a fertile legacy: he described the consequences of living in disparate communities, the psychic effects experienced by people who inhabit poorly maintained houses, the frustration we develop in hostile cities, the need for decent housing for our childrenChildren, and the enormous desire to find compassion. Brat’ya, a Russian word, means brothers and he used it in his last novel. His stories allow us to observe and assimilate many of the current problems of our Latin American society; the parallelism between his confessions and our experiences, both reveal human fragility.

BRAT’YA: The Architecture of Dostoevsky

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发表日期：

2025年

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Jorge Sánchez Lara

摘要

Fyodor DostoevskyDostoevsky told us storiesArchitecture about the social inequalitiesInequality of the nineteenth century; he did so with tales that mix personal reflections and spatial descriptions. His work is mainly studied from literary or psychological approaches, but its representative quality shows us the evolution of other areas: “LiteratureLiterature… becomes a painting, in a certain sense, of course; a picture and a mirror; a mirror of passions and all intimate things: it is instruction and edification at the same time, it is criticism and it is a great human document.” (DostoyevskyDostoyevsky, 1970) BRAT’YA is part of a critical-architectural trilogy that analyzes his narrative techniques, along with those of Marcel Proust and Juan Rulfo, to find and understand people within the environmentEnvironment in which they live. The authors, all of them knowledgeable about the architectureArchitecture of their country, Russia, France, and MexicoMexico, brought us closer to the defense of dignity, artistic creativity, and the link between us and nature. Dostoevsky’sDostoevsky narrative stands out in the first part, and we will focus on it. To approach his thoughts, we read his books and the most relevant biographies, furthermore, we considered it essential, to review how the artsArt have interpreted the spacesSpace, placesPlace and people to which he only referred with words: we show drawings, paintings, engravings, plans of the city of St. Petersburg, plays and films that have been made around his ideas. His writing belongs to another era and modern translations have molded it into simpler forms. To preserve temporal distances, we selected editions from different decades and countries: from the forties; the seventies, when we had a boom in his reading in Latin AmericaLatin America; up to the most recent ones. So, along with observing the beauty of the language, we will also see the selections that we had to make between the different publications, references from his first biographers like the Russian Leonid Grossman, and interventions from scholars and critics from France, Norway, Spain, Argentina, or MexicoMexico. The content is shown in three stages. We expose the social context, connect his stories and novels with architectureArchitecture, and summarize the contributions of the novelist to our area. The second section was created in the following way: we identified his ideas and isolated phrases, organized them into themes, ordered them chronologically, that is, we followed the year of printing, and finally, we linked them through the narrative. DostoevskyDostoevsky left us a fertile legacy: he described the consequences of living in disparate communities, the psychic effects experienced by people who inhabit poorly maintained houses, the frustration we develop in hostile cities, the need for decent housing for our childrenChildren, and the enormous desire to find compassion. Brat’ya, a Russian word, means brothers and he used it in his last novel. His stories allow us to observe and assimilate many of the current problems of our Latin American society; the parallelism between his confessions and our experiences, both reveal human fragility.