The current architectural production faces several paradigms and one of them is aesthetic. In a scenario of constant uncertainty, buildings with projections, holograms, or completely automatic ones that science fiction has shown so much, seem more and more distant from reality. Nowadays, the search for greater identification with the built space has been amplified instead of idealizing the new for the new. Therefore, looking at the past has presented different perspectives and it is in this scope that perhaps we can imagine a new futuristic aesthetic.
The region we know today as the Metropolitan Zone of the Valley of Mexico (ZMVM) has had a continuous and dynamic occupation for more than 4,000 years. Archaeological and anthropological evidence reveals the presence of complex human societies on the banks of the lake basin, starting with Tlatilco and Cuicuilco in the Preclassic period, passing through Teotihuacan in the Classic period, and culminating with the different urban centres of Nahua affiliation in the Postclassic period, with the cities of Mexico Tenochtitlan-Tlatelolco, as well as Texcoco, Azacapotzalco, Iztapalapa and Chalco, among many others, undoubtedly standing out.
The origins of brutalism can be traced to the UK in the 1950s during the post-war period. However, there is no clear record of its initial boundaries or theoretical frameworks. Despite this, it is widely agreed that it sought to uphold constructive sincerity as its main value and that it had, in the execution of Le Corbusier's Marseille Housing Unit (1952), a turning point for its global diffusion (Casado, 2019). For authors such as Banham (1966) or Collins (1977), constructive sincerity in Brutalist buildings does not only refer to material or technical criteria, but also to moral, political or ethical ones. These variables, in nations such as Peru, were fundamental and built an aesthetic while trying, through and from architecture, to construct an idea of a country. This essay seeks to be an approximation to these ideas and experiences.
For varied reasons, architects have been driven away from professional practice. Sometimes, however, they continue to design buildings in other media and support. Vinicius Libardoni is an Italian-Brazilian architect and artist who migrated from Autocad to metal engraving, passing through woodcut, and has been building imaginary architectures ever since.
Western aesthetics is based on the mathematical analysis of an object's formal structure, using classical beauty laws such as balance, symmetry, and the golden mean. Eastern aesthetics differ in that, as it emphasizes intuitive experience, such as "white space" in traditional Chinese painting, through emotional communication with the "imagery" to produce a certain "Conception." The contrast between reality and emptiness allows the viewer's imagination and feelings to flourish, allowing them to realize "showing the breadth of heaven and earth even in a square inch place."
In the history of architecture the concept of beauty has always been linked to different factors that represent, mainly, the values of society in a given period. The zeitgeist is certainly crucial to these definitions, so something that was once considered beautiful in the past is likely to be given another connotation nowadays. In this sense, aesthetic preferences in architecture seem to be linked to symbolic references implicit in the construction itself and in its relation with the world. They are preferences that express convictions, ideologies and positions, as well as moral, religious, political feelings and, of course, class status symbols.
It’s an essential architectural element, one we tend to immediately take note of when we look at buildings new to us – the roof. The roofs that shelter the buildings we see in our cities today are diverse in their typology. Flat roofs are a common sight in the city centers of urban metropolises, hip roofs are a popular choice for dwellings around the world, and the gable roof is arguably the most common of all, a roof type popular in stylized depictions of what a standard house looks like.
The concept of aesthetics goes back to the Greek civilization and refers to perception through the senses. Despite being a philosophical concept, in architecture, aesthetics is used to translate architectural ideologies and concepts from the set of constructive elements, forms and materials, being intrinsically linked to the physical shape of a building and, therefore, bound to a social, economic and political context. In addition to a discussion of tastes, architectural aesthetics is a source of historical reading and analysis.
After a prolonged period known as the Middle-Ages, a growing desire to both study and mimic nature itself began to emerge, with an inclination to discover and explore the world. Between 1400-1600 A.D. Europe was to witness a significant revival of the fine arts, painting, sculpture, and Architecture. The ‘Renaissance’, meaning ‘rebirth’ in French typically refers to this period of European history, although most closely associated with Italy, countries including England and France went through many of the same cultural changes at varying timescales.
The hands hold the weight of the entire body, feeling the rough texture of unplastered mortar on its thin membrane. Even with the whole body stretched out against the wall, it still was not possible to see what was behind it. Sweat, in a mixture of adrenaline and heat, ran down his temples, indicating the movement for a final effort, a last impulse before the imminent fall that, for a few seconds, allowed him to overcome the last row. The field of vision was then opened to a fragmented, disconnected and oddly free world. An urban power that allowed itself to be strangled by the breath of tropical vegetation while being consumed by abandonment amidst an active and dynamic city.
Like a beautiful painting, windows showcase interiors and frame landscapes that connect users to the outside world, directing our eyes to what really matters. But besides framing views and facilitating visual communication, windows serve multiple essential functions that make them vital components in any project. They illuminate homes with sunrays, provide natural ventilation, filter light, insulate from cold and heat, block water and ensure protection. As most design professionals would agree, glazing also plays a crucial aesthetic role; its materials, style and dimensions certainly make a significant difference in the appearance of facades and spaces.