By: Nicanor Wong Ortiz Arq
jnwong@caplima.pe
Summary: One of the most far-reaching theoretical architecture of the last century was the German Christian Norberg-Schulz. In his "Intentions in Architecture" in 1979, began to rework the fundamentals of this concept from the construction of a new vocabulary (structuralist linguist) validating on constructivist learning theory of Jean Piaget (Switzerland, 1896-1980). Since grammatical constructions use words whose concepts are wrong, you need a syntax "constantly changing" to unify a cluster of ideas (perceptions) about architecture.
Keywords: language, syntax, semantics, communication, dialogue, task, project, thought, truth, reality, rhetoric, form, production.
1. The language in the contemporary world
The language has aroused great interest in the various currents of contemporary philosophy, not only in regard to philosophy but also other branches of science and art. So much has come to be considered central to contemporary philosophy can be called - in analogy to the discoveries of Copernicus - the "linguistic turn" (cf. LAFONT: 1993).
By addressing the language, philosophy has described its three basic dimensions: a.
cognitive, always enhanced by the classical tradition,
b. the communication, which allows us to describe and understand the world about what is in the world, what goes for one another and finally, c.
categorizing or ordering the latter two
dimensions of language have not been treated thematically to the so-called "linguistic turn." However, since Aristotle defined man as an animal with "logos" (Greek word: word, speech, speech, reasoning), a term that has long been interpreted in terms of "rational animal." "Logos" is a term that points to the same time to reason and language, ie not forget that - somehow - the language is the place to articulate the thought and the world. In the words of Martin Heidegger: "Is it a coincidence that the Greeks, whose daily existence predominantly took the form of dialogue, and also "had eyes" to see, have determined the nature of man and animal (...) having logos? The subsequent interpretation of this definition of man as rational animal, without being "fake" conceals, however, phenomenal field where this definition of Dasein (being, existence) was taken. (...) The Greeks have no word for the language, they understood this phenomenon "immediately" as a discourse "(Heidegger, 1997: 188).
In fact, communication systems based on common symbols that are linked to "life forms", ie, role models common. The verb, compared to human action, may be understood as a component of these three dimensions, which should add the catéctica as reactive sensory knowledge (Norberg - Schulz, 2001: 40-43).
To conceive of space that surrounds us turn to the symbolism of it. This phenomenon epistemological architecture allows to express that daily life has a meaning that transcends the immediate situation and, as part of a historical continuity - cultural. The ancient cities attest that human communication has a stimulating effect and should be considered as a prerequisite for cultural development. Could be identified as examples of this link submissions and representations murals in temples, palaces and tombs Egyptian, Mesopotamian, Greek, Roman and pre-Hispanic, such as the mural painting discovered in the tomb of Knumhotep (1,900 BC), around the door frame entering the room containing his sarcophagus, made aware of the immortal spirit ak stock of his life.
The fact that writing as a sign to settle into the architecture as object indicates the precedence of knowledge on cognitive and communicative catéctico categorical. This information is extremely important for architects and historians of art and culture: embracing psychological information and sociological definition or understanding of the role (purpose) of the building. The way they express this symbol, it certainly must be intelligible, but not necessarily under a common canon representative. Arnhelm (ARNHELM: 1973) shows the various forms of physical reproduction of the environment, I would not call "relative", but different. Such is the case of "The Garden of Nebamun (1,400 BC), a mural painting in a tomb at Thebes which accounts for a swimming pool with exquisite representation of fish and ducks, surrounded by trees of different varieties of the area. But beyond the wall representations that account for the use and design in the imaginary space of the artist, archaeological findings, such as the Parthenon Ictinus (450 BC) reflect the ability of the object that drives our performance based on direction, size and distance. While the Italian architect and theorist Bruno Zevi criticize the inability of the interior space travel, the temple designed for the gods in the upper area of \u200b\u200bAthens divided the territory into three zones marked: the temple on top (Acropolis) - home of the gods in the middle of the agora, the center of social life and the residential area. Regional planning can have a parallel with the order of communication. The citizens of Athens had to know exactly their position buildings based on the symbol of the city, these buildings will be regulated as symbol-style rule gathered by the Roman Marcus Aurelius Vitruvius in his treatise "De Architecturae." Understanding the way from the ten books vitrubianos has not changed substantially. The German professor, Norberg-Shultz (Norberg-Schulz, 1979: 65-66) proposes the following outline for a reading from the form: a.
The manner in proportion: only have one computer effect when they lead to what he calls "Gestalten" (elements) architectural concrete. B.
The way space: the use of a concept of space from the laws of Euclidean geometry must be supplemented by other formal categories. C.
The way we structure, is to understand the architectural form as a whole which unifies the different factors.
affirm that truth is mediated, or is brought through our language - oral, written, formal - is not degrading but implies emphasizing his humanity. The claim that the truth appears in the language of rationality emphasizes its interpersonal nature, since - as Wittgenstein rightly - a private language is impossible. Otherwise man could not sustain a physical control over their environment.
Thus, the functional framework Gregor Paulsson what is called "the physical environment." The man, from his appearance on the face of the Earth has been organized in communities and has established physical control over their environment based on trial and error as a means of survival. However, beyond the transformations performed to the basic-basic functions of the species, there is already an abstraction of the function, since every action requires a site specific artificial environment that allows live in the broadest sense, and to live , you must first have lived. It will not be at all accidental that the principle of the architectural composition is of mimesis with nature, the lifting of dolmens and such as Carnac menhirs.
In everyday life we \u200b\u200boften act on the direction, size and distance, and only a specific attitude enables us to combine these phenomena in a higher conception of space.
The communicative aspect of speech act is not an aspect which can be dispensed but is essential when attempting an adequate understanding of language and truth.
2. The true intent of the language as
Our access to truth is not absolute. The truth is always open to new formulations and, on many occasions, we find the reasons for the truth in the opposition with opposing views. "The historical experience of the systematic growth of knowledge, scientific spirit incarnate in the creative, stands as a touchstone of reality, the critical value of the submission of empirical contrast own opinion and reasoned discussion with peers" (Conesa, 1999: 158 .) Claiming that the truth appears before the language is not in relative terms since, through the contrast and rational dialogue, human beings are capable of recognizing the legitimacy of a trial on another basis which is real.
The idea of \u200b\u200blanguage as closely related to the reason is not entirely contemporary. In fact, Plato shares this idea to use the dialogue form in his writings. The dialogue is a particular use of language where communication function is particularly evident, but this does not exclude cognitive function. The purpose of dialogue and therefore language is communication, but communication can only be true if the purpose of dialogue is the truth and it does not take precedence over other interests (1).
result, Plato against the Sophists, believes in the existence of truth and the possibility of human reason to reach it, but the truth at any time is conceived as closed and conclusive, but as something open. The purpose of each of the dialogues is dragged in the search for truth, not to provide a systematic doctrine.
And in the political arena? What degree of force Plato attributed to the political use of reason? His goal of the ruling philosopher seems to rest on the following equation: if you have attained wisdom, I have to do it. The drive seems, in some cases frightening: if you know everything, I can send it. In this way we find a reason alienating or "dictatorial", all sectors of the life of the polis are predetermined, on behalf of the power of reason.
This is the beginning of the small snowball, as going down the hill, is becoming more grain. The use of reason is used in policy is based on the conquest theoretical contemplation of the supreme truth. If this is the same reason that it covers and the acting is necessary to formulate the proposal in terms of a Platonic matching planes (metaphysical and political) in which only remains to be determined what priority. The inclination towards either pole significantly affect the ontological notion of reality.
Plato's problem seems to arise with the syllogism "what he knows, knows." But then to say that the "ideas" are a model and paradigm of all, not the solution but the beginning of the problem. The point is not that what we know, as we know, you know, but be aware that with that knowledge does not know everything. A paradox of Zeno, "the more you know, more is unknown." "Well, how would not be a lover of learning who set using the knowledge and ignorance self from others?" (Plato, 1999). The reason is platonic but knows his limits limit functions as an elastic boundary to be doing: where the unknown becomes known, the boundary moves further. Here begins the real dialogue, communicative dialogue. Similarly, the "intuition" space is not confused with "reading" of it. "Read" involves grasping its properties within the action we have over them by the agent intellect and sensitive. The perception of architecture that wraps around us and can be described as a series of intermediate objects that serve as centers of attraction as the intent of the person. Note that these qualities are in continuous change as the potential of them.
Awareness of the limits of reason is not to isolate everything that is not itself and for itself. Thus, it has happened in the passage of rationalism to transcendental idealism, where the limit of reason is established as a fixed limit, "as I do not know what lies beyond reason and know I can dedicate myself to draw as accurately as possible the side of the border inward, ie, the conditions of possibility of using of reason. " Given this restrictive view, the limits of reason are shown as limits Platonic phones, as it provides the possibility to access the principle that underlies their assumptions and ways of knowing there are extra ("a" or "above") is rational relate to the content of speech.
According to this view, modernity propose a reason "strong closed, "epitomized by Hegel, and Plato would be a reason" open safe ", the radical antagonism would be in the use of reason does postmodernism, perhaps the most negative of all: a reason" and closed weak. " Closed because it can not go a step further and weak as distrustful of itself. A certain stillness. Shulz (Norberg-Schulz, 1979: 36) notes that action presupposes an organization's environment. This organization would, before, to abstract objects immediately given phenomena. For the German architect, objects, or will the way we attach to the world as the words that compose a sentence and are expressed through our behavior. Within its particular linguistic structuralism-phenomenal, it will be fixed to objects a sign, so we can talk about them, which can be described and sorted into systems. The more complex and differentiated environment becomes, the greater the need for a "system of symbols" that enable collaboration and cooperation, open dialogue and communication.
It is therefore of utmost importance because recovery of classical in dialogue with the thinking of the past can find answers to this. The fact that Plato For example, lean for a reason "open safe" would explain the language preference for oral versus written language and the fact choose to write his work in dialogue form fleeing any literary form that resembled a body exposure Closed doctrine.
Thought is always an unfinished task so many of Plato's dialogues are basically a "point to" or an open road. The scheme of dialogue does not show up as empty but as one thought discussion. The thought that arises discussed was born, at once, humanized and enriched by the company. It is no longer thought and peeling away from human reality. Our world, modern and complicated, needs new professional methods, but while the engineer and the scientist have adapted their activities to changes in social structure, the architect, contained in itself, has clung to outdated ideas and methods. Often adheres to the nineteenth century romantic idea that artists should express only autonomous personality (Norberg-Schulz, 1979: 15). The ideology of the architect has been changing as the same production model has evolved. After various experiments based on authority, whether social democratic, communist or socialist country (would illustrate the impressive projects of Hitler's architect, Albert Speer and Germania or the Seagram Building by Mies Van der Rohe in Manhattan). Next to the "linguistic turn" one must add the supremacy of the neo-capitalist model, liberal and open, in which consumption and, therefore, the relationship between people and the supply of diversity have played a major role. In this sense, the figure of the architect of liberal thinking, more sensitive to environmental applications would be in perfect harmony with the changing needs of the productive system of a society tends to wealth. Triumph model singular figure of the architect as advocated by Le Corbusier: architect and artist unique, with a personal language that goes beyond knowledge construction management or policies (2).
Nevertheless, not all forms of dialogue, language, speech or design process, the truth will be the result. As I mentioned, only those who use a tyrannical reasoning structure may confuse the language with the metaphysical level and thus "create" from the language or discourse "strong" closed "a" truth itself. " As absurd as a "language itself." By 1992, a series of political transformations defined a major change of the time. The "end" of the Cold War and the fall of the Berlin Wall were made unprecedented broadcast by all television networks. In recent years architecture has become a multitude of experiments and open to multiple addresses, which often have managed to break dichotomies established during the twentieth century. Works concerned with form and technique included looking at all costs "star system" media: architectures that have developed in unison - thanks to the widespread use of the image over thought - ingredients morpho-abstract and figurative, based on a game hedonistay formal or, in the same vein, reinterpretations of classicism from the attitude of irony. If
formulations years sixties are single-issue and consistent - Rossi, Venturi, Archigram, etc. - Architects representing the eighties and nineties have a hybrid, seemingly contradictory reading, which attempt to reconcile their own languages \u200b\u200bto validate themselves. Natalini, Gehry, Koolhaas, Hollein, Siza, Ito ... are not semantically understandable since the role of the work is born of irrationality. Minimalism, hedonism postmodern vernacular references, technology, ecology, semiotics, figurative art and artistry, all this is taken at a time, tending to schematic some poor architectural elements of the postmodern and decostructivo. Thus, much of the architecture of the sixties and seventies will manifests as a direct reference to the avant-garde plastic, highlighting Aldo Rossi, Robert Venturi and Peter Eisenman. However, these key positions methodological sophistry, lost strength in the eighties, expanding in a multitude of disciples and diluted in an overview of individuals each more extravagant.
Young architects of the nineties completely abandon reliance on any systematic, prevailing attitudes extrapolated wildly eclectic fragmentary references out of context. Disjointed images are fed into a predominantly visual repertoire, in which increasingly dominate the acculturation and uncritical incorporation of input from different contexts. This is manifested in a wide range of projects characterized by its inconsistency to be contradicted by ignorance of the implications and roots of each type, format and semantics. It is rhetoric in this crossroads where modern architecture is.
3. Contemporary rhetoric
Although the language of communication may or may not, be a condition for the truth may be present that dialogue is communication and therefore there must be no other interests other than the truth or at least that not subordinate the pursuit of other interests that it may appear.
sterile Contemporaneity will build on a rhetorical structure, confusing the language of flattery. Thus, the rhetoric is the science cultivated by the Sophists, who is devoted to study and systematize procedures and techniques to use the language to serve a compelling purpose or esthetics. Consistency is needed. The main dimensions must be coordinated semantically: the forms and constructions have meaning when connected with a role (Norberg-Schulz, 1979: 119)
The fundamental condition of communication as described by Plato is that dialogue reflects an attempt to get at the truth, which constitutes a "creative imitation" of the truth and not a slavish copy, subject to reasons of convenience that seek applause and immediate success or deception to hunt opportunistic customer. This does not mean that I oppose all forms of rhetoric, but only those related to the sophistry as the ultimate goal. The experience of a characteristic, as well as a diffuse or a fully articulated, are the result of distorted schematizations. Perceiving involves capturing a certain order and the chaos is defined as a perception that does not allow satisfactory (Norberg-Schulz, 1979: 31).
By contrasting rhetoric and dialectic, the paper argues that language is a way to make manifest the truth, which does not guarantee in advance the company's success. The important thing is that the participants put all his cards on the table, that all partners cooperate in the search for truth. Is not altered in any way possible the order of knowledge.
The possibility of dialogue means no communication from the contrast between truth and falsehood, but between truth and lies, or more broadly, between truth and manipulation. This does not mean that the environment does not affect humans. The purpose of architecture beyond the definition given by the first functionalism the years 45 to 65. The rise of incoherent rhetorical repertoire does not mean that all contemporary architecture is execrable. However, the digital revolution, the global warming phenomenon and the divergence between West and East do generate a communicative exchange generates a new point of view, exposed to disagreement and misunderstanding on the part of native communities, migrants and digital immigrants they create a different mode of cognition of reality, learning and language.
But, despite the transformations that can be accidental, the connection between this approach of Plato and some later philosophical developments, is obvious: Is necessary to find the right word and also learn the silence speaks for itself: in short, be present in the dialogue. The opposite is true routine controversial dialogue of the dispute, when it reacts to any argument with the question: 'But is not there a logical contradiction? " (...). Against this we must defend the dialogue in its internal possibility of truth and especially against the submission to the rules of a simple logic called apparent sophistication "(Gadamer, 1998: 128-129). We can speak of a true experience of architecture when trying to find what the form represents a manifestation of superior items (Norberg-Schulz, 1979: 56).
In short, an architectural system can be understood as an ordered set of architectural wholes. These can be classified and the classes described in terms of the dimensions of the subject and the media. A system architecture is characterized by the number and types of topics and also includes special relations between classes, for example, a hierarchical or "addition" of equalities (Norberg-Schulz, 1979: 121).
4. Beyond the linguistic
As the reader has read the preceding paragraphs. Linking architecture and structure of language is a way of understanding the universe of the same but the architecture is not just a linguistic system. The application of the rules of semantic relations between the sign and the nomination, will be as useful only interpretation. In fact, this is the end of the communication, understanding. However, the theory of architecture - so integral - is built on a wider basis. Norberg-Schulz (Norberg-Schulz, 1979: 68), the German theorist, suggests that there would be three basic dimensions:
a. the role,
b. the shape and
c. art. For the theoretical
Peruvian Ludeña Urquizo (Ludeman, 1997:71) the domain of a general theory of architecture is more extensive and complex. The use of the language system will offer an interpretive system architecture idealistic. A linear structure: the role (idea) - form (symbols and signs of the object cualificadotes) - technology (concrete building industry). Nothing is more foreign to the complex system of architecture, but can be understood as a diagram of sets as the large number of concomitant factors that interact with each other, the reality is applied as a comprehensive diagram of process leading to the building. Following Ludeman (Ludeman, 1997:87), the mega sequence would be: a.
Recognition of the conditions of nature, topography, climate, geography, physical environment modified natural physical environment, etc. B.
Recognition of social conditioning: reports, meta stories, expectations, habits, tastes, architectural knowledge, personal and group contexts, etc. C.
Awareness (objective and subjective) system habitability requirements: architectural program, regulations and rules, anthropometry, ergonomics, style, past experiences, etc. D.
Taking advantage of the project to be developed, ideas, mental representations, insights, knowledge, historical knowledge, ideologies, etc.
e. Ideally designed to represent the goods: architectural design drawings, structural, electrical, sanitary, electro, lighting, security, control, model, etc. F.
The realization - Construction: Metro and budget, contracts and subcontracts, work planning, scheduling, routing and layout, suitability of the land, preliminary work, etc. G.
The distribution and exchange of product built: assessment of the product, profit margin, purchase, sale, etc.
This is what I would call a "super architectural structure" on which could be could be developed a diagram of sets and subsets vast interrelated functions in return, so that the theoretical interpretation of the architecture to be comprehensive.
The difference with the analysis of language structures and are well-known symbolic ideal. While the former is of tree form: subject, predicate, noun, article, verb, direct object, etc.. The second is sequential: philological analysis (concordance between image and text description), typological (abstraction of the variations of form, style and ordering the material composition by theme) and iconologycal (analysis of the image with all contexts on which is).
5. The loss of cognitive unit
If we accept the Aristotelian definition of architecture as "utilitarian ars" (art utility), aimed at meeting the needs of make a living, it reveals an inescapable dimension of architectural instrumental (3 ), which, while not absolutely determine its final formal configuration has to occupy a central role in making design decisions. This implies, in turn, necessarily an interpretation of particular user requests for housing, as will be necessary to define its conditions of possibility implicit in the architectural determinations made. The architecture in this sense, interpretively respond as it sets, a live, understood in its broadest sense, existential (4).
Moreover, as has been shown in recent times, various schools of thought in art theory from the phenomenological aesthetics, semiotics, or the interpretations iconology, has tried to unravel the characteristics and scope of aesthetic symbolization. From there, the architecture, as well as other art objects from the effects - objects, buildings - are endowed with significance. Thus, the object - artifact - architecture, at first, expressed the "embedding of the intelligible in the sensible" for the incorporation of rationality to the matter - where it says Dufrenne (Dufrenne, 1982: Vol I. 51), the "epiphany" or "apotheosis of the sensible" (5) - and also can be said that means not only material or physically possible, a personal and social habits (6).
But still, in that it assumes or can assume values \u200b\u200bof representation or image - "enlightenment" would perhaps be reduced to these effects, Gilson (7) - The architectural work is necessarily text-witness "iconographic": firstly, by reference inescapable relationship and / or contrast (GILSON, 1961: 221 ff)-contained so effectively even without intention - with respect space-time tradition, that is, by its location in specific local and historical features which has to "respond" and, secondly, by the valuation that actually makes requests of the various factors and conditions that affect architectural work: the way it produces its conjunction or start discussions, etc.., as, finally, that any work of architecture this constitutes a theming architecture in general and of itself in its context (Panofsky, 1979).
to all this is the fact that the architectural work is constrained, as mentioned, for many extrinsic factors: geographic, socioeconomic, political, cultural, etc., Which determine "outside" its possibilities and mediate (qualify and judge) solutions.
is, in addition to the factors derived from consideration of its artistic (art for art), the architectural work involves a choice in living - in the broadest sense, which could be extended even, in some ways, the definition of conditions and ways of life embedded in the building, with a strong signifier of cultural and symbolic. On the other hand, your chances of achievement are mediated by a host of challenges and constraints, extra-artistic, often decisive in its configuration as an object.
Resulting from the above is the particular sensitivity of the architecture as an activity closely linked to the philosophical and intellectual currents (sociology, economics, politics, anthropology, etc.) That affects not only the aesthetic tastes and the evolution of arts, but a substantially so direct. Thus, "the architecture takes on a social whole lot more openly than in any other art, because here everything is presented as a problem of means and ends and the means (material, technical, price) are linked to the social economy and the purpose (modes of life, smart, work) are associated with social habits "(Morpurgo-Tagliabue, 1971: 451).
Moreover, the immediacy and physical proximity of their products, tangible consequences, forced involvement in the events of the mechanisms and production processes, cultural and ideological permeability and the "experimental" own contemporary, have the concept of architecture as a field test with particularly amenable to changes in the intrinsic systems definition. Thus, the architecture becomes an ideal breeding ground for ideological and testing applications that can not be reduced or closed to the area inclusive of a pure aesthetic activity and, therefore, more effective than all the other arts. So, we work "organic" as the Sagrada Familia by Antonio Gaudi in Barcelona (1883) to "collages" as the attic of Coop Himmelb (l) au in Vienna (1983-1988).
This often makes debates in the field of architectural ideas are developed as return paths that run in the context of a dialectical relationship difficult to resolve, between two areas of action waived: the field that corresponds to its own specific discipline art-understood "art" in the broad Aristotelian sense and his commitment and responsibilities in terms of ethical and social implications.
is known that in architecture have lived with particular emphasis the consequences of victory and the collapse of modernity. The other solution given the dilemma between the ethical-social and "condition art "of architecture, can provide a vantage point for understanding the events surrounding the rise and fall of the call to" modern architecture ", or the Modern Movement in architecture, as it can be defined historically referred to in its origins in interwar Europe. Collins says: "One of the salient features of modern architecture has been its relationship with morality, so the ethical foundations of architectural design theorists have preoccupied modern in a way previously unknown" (Collins, 1970: 35) .
The ethical commitment of architecture was accompanied on the basis of modernity, with an absolute denial of his "artistic" in the sense of resignation to individual creativity and express rejection of any symptom of "formalist aestheticism", highlighting its instrumental-stated in terms of functionality, rationality, efficiency, hygiene, etc .- of the architectural work. This was understood as an immediate result of the response to the needs and requirements of programs, economic and construction techniques on a concept of univocal parallel with mechanistic scientism approaches to understand the "new architecture" as a result of the indispensable imperative the historical circumstances, political and social (8).
The historical optimism of modern architecture, affected by the scientific, technological or social, were falling in subsequent decades with a host of insurmountable tensions, produced, first, within itself architectural discipline, as rigid stylistic normative codification of the "International Style" and on the other hand, received from outside pressures, such as those performed by the great upheavals of the energy crisis, economic crisis, the collapse of the models social, the "end of ideology" etc. The postmodern
then emerge as a reaction opposite to the modern. A "defensive retreat" in the interest of redefining their own exclusive territory of architecture as art, and the recovery of history and nostalgia for an imaginary lost.
The project activity can be seen today, thus, ordered to undergo hopelessly schizophrenic dissociation produced between a pragmatic trade space and sophistication of the self-reflective, more scholarly, distant and difficult, "cultures" of architectural elites. This dissociation highlights the danger of permanent contradiction inherent the attempt to construct reality from an imaginary world, a contradiction which lies at the very foundations of structuralism phenomenal game, linguists or idealistic, leading to shape the work of the architect as something that develops in an "all disappointment ", the result of irreconcilable terms of mediation that would allow transfer ideas into reality settled in images, which in turn coded into fantastic shapes (cf. Wong 2009).
The absence of a desire for synthesis, the rejection of space-time commitment and ethical responsibilities, loss of confidence in higher ideals, characterize the current historical moment, perhaps, from a scurrilous criticism and omnivorous, relativistic and skeptical, hiperculto (but tired), is unable to support or defend something else in relation to architecture that their condition because of a vague attitude "postmodern" (9).
While the understanding of architecture as "production" - "poiesis", as employed by Aristotle - the combination of artistry and responsibilities should be carried out in almost every situation, in a communicative dialogue with the objectives real opportunities, through the exercise of certain habits, the "artistic" - "techne" - and a certain habit of "reasonable" - to the extent that this may include, exceeding the materiality of the product itself, the definition of ways of life and reply to all the constraints of space-time which is conceived and executed.
The critical task of prosecuting the various trends and architectural solutions, as a means of undertaking the project, calling for a general theoretical principle articulated in its base: the project activity. This is perhaps the major challenge imposed on postmodernity in the opening of a road to recovery a lost unity, the "totality" dissolved "the architectural project, by overcoming the dilemma between specificity secular discipline, as" artistic insight "and external responsibilities with their ethical, between that commitment mechanistic modernity and ideal" autonomy "sometimes quite unsustainable and irresponsible.
Notes:
(1) mode appear in the language of truth is a recurring theme in contemporary philosophy. Particularly interesting in this sense, are the work of Heidegger and Gadamer.
(2) This does not mean that there existed an opposite current, such as Walter Gropius, Ludwig Hilberseimer, Ernst May, Mart Stam, Alexander Klein and Hannes Meyer, aimed at the "German New Objectivity", in which it was important to understand architecture as a scientific work aimed at a radical industrialization. Designers, architects and planners had to remain anonymous industrial production, teamwork and public administration.
(3) Aristotle is clear from the difference between the instrument - for purposes related to the practical value and, what we today call works of art, whose goals are more in the realm of "idle" -. In terms of music, for example, notes from their effects: relaxation, character development and cultivation of intelligence, and among its purposes, pleasure and education (cf. Aristotle, 2007: Politics, Cap. V). The distinction is also highlighted by Heidegger, for whom the instrument being exhausted in its "instrumentality" as a work of art "cover the truth", constituting its "unveiling" (cf. SADZIK, 1971: Ch. 1).
(4) The dimension of "living" architecture has been put into relief from the suggestions made in existential terms, philosophy Heidegger (Heidegger, 1951) and Christian Norberg-Schulz (cf. Norberg-Schulz, 1975).
(5) In the artwork, says Dufrenne, "the meaning is immanent to the sensible, is his own organization" (Dufrenne, 1982: 42). There is a first stage, then, in which, despite their possible communicative qualities, use, etc., The artwork is not a sign "transitive", not "used" to achieve a meaning other than itself . Also, regarding the expression in the same "organization and disposition" of matter (ARNHELM, 1979).
(6) Muntañola describes the architecture as "a representation permanent space, "while representing" making plausible a living from a building "(cf. MUNTAÑOLA: 1981)
(7) Perhaps the look out" pure "visibility" of the painting claimed by modern painting Gilson comes to separate the plastic dimension, aesthetic and formal, a representative dimension or "enlightenment", which - say - not the painting itself as such and may or may not actually occur. Iconology has struggled in recent years show that both aspects are given, in any case, as inseparable.
(8) could cite many texts of the promoters of architecture modern, programmatic manifestos published in the twenties and thirties. By way of example, Le Corbusier's famous aphorism: "The house is a machine for living", which concentrate some of the basic content of the modern project for architecture.
(9) One of the pillars of the debate called "postmodern" is the American architect Robert Venturi. Bases its proposals on your acceptance without reservations of the complexity and contradiction in architecture, as indicated in the title of his most prominent book, "Complexity and contradiction in architecture" in 1966. It defends the eclecticism and ambiguity as a principle enriching distortion, dissonance, the "accidental forms, the criterion for accumulation, provisional, the plurality of meanings, and so on., resorting to this to the justification of the resources neorealist and pop art to advertising images, to quotations of folk architecture, etc., always against global and unitary vision of limitation in defined compositional formal systems.
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