modernism

The quest of beauty has always brought people to a study of what the aesthetic might give them in practical terms.

Ordering all these things we could understand how the “beautiful” is a pure intuition of the human eye in front of an aesthetic formalism that structurally responds to the artistic demands often personal.

A beauty so subjective that draws its formal expression by a pure intuition.

Purity behind the objectivity of a studied work; precise because pure.

“an aesthetic judgments can be accomplished when the human mind perceives a sequence of elements, such as a sequence of notes in the case of a musical composition, colors in the case of painting, architecture or space ( JF Herbart).

Until a few centuries ago, the benchmark for any architecture was the classic, the story, then fixed to mediate between theory and practice of architecture. The last time you face these issues in a completely different design. The knot that holds together the architect in architectural thought is the social function. This implies a design approach that puts first the problem of the generic form that responds to social needs.

It ‘important to understand because it means that you will lose the value of the building as an entity isolated from the context. 

“In practical terms it is clearly impossible to create a specific building having as an objective absolute fixed end, as each new unit will not only change the existing order, but also change, with its very presence, each unit future” (P. Eisenman)

I also agree with Rowe when he said that nothing more could happen in architecture since 1965, or after the death of Le Corbusier. Rowe interprets it as the work of Swiss architect was the culmination of the “most sophisticated modernist formalism".

Today we could easily make up for the Kantian thought that what is central to the idea of form is the process of understanding intended as a pure form of intuition or as a form of thought, namely as a process through which the conceptual mediated the different forms of intuition. For Kant the concept of form refers not to the phenomenology of the superficial things, but the process of formation of the representation of objects that you can find in the nature. As argued by Gasche, the idea of form is the synthesis process without sensible intuition from which no cognitive process may arise.