At the top of the apex is, often, only one man. The joy of contemplation is equal to its excessive inner sadness. Those who are near it, do not understand, and with indignation, accusing him mad or impostor
Vassily Kandinsky, On Concerning the Spiritual in Art.
------ 1. Introduction.
The aim of this paper is to show how all design processes, particularly those relating to architecture, are regulated under a single guiding principle, itself made up of devices, which will call: ideological processes design. In other words, it demonstrates how, through different mechanisms of deliberate concealment or unconscious, all the tools and systems that make up the design process are subordinates under major conceptualizations, which are linked in its entirety with no programmatic and ideological positions, materials, construction, scientific, or systematic computable.
In part A, we analyze an artistic and architectural, and ideological processes of design that there are verified by differentiating functional and programmatic issues. In Part B we will examine different aspects of these processes, contrasting with some systemic theories.
PART (A)
look at a specific time period, the debate taking place in it, as exemplary. Thus, we find different positions, relying on different theories and views, sought disparate design processes hiding their true intentions in some cases, but always subordinate to the ideological processes of design. The case is discuss different perspectives on the arts prior to the Bauhaus and during its existence, in times of the Weimar Republic and then to her.
2. The epic transforming
worth noting first that the time to study is no doubt, particularly in history in general, and in design history. Following the line of romance, and the fury of avant-garde, all the speeches and creations are laden with a profound prophetic fervor. He felt the need to amend the very foundations of social and artistic speech, and was convinced that these changes would be destabilizing and durable.
At the top of the apex is, often, only one man. The joy of contemplation is equal to its excessive inner sadness. Those who are near it, do not understand, and with indignation, accusing him mad or impostor [1]
Simultaneously, it was believed that art and design, would be those tools by which large and critical social changes would be carried out:
Art and people should form a unit. The must cease to be art enjoyment of a few, to become happy and living of the masses. The union of the arts under the wings of a great architecture, it is our goal [2]
Finally, it is essential to clarify that the climate before the world wars, during, strengthened the expectation of change, vitality and grandeur of these social changes:
art is the alarm cry of those who live in themselves the fate of mankind ... are men who do not look away to protect yourself from emotions but rather open their eyes wide open to attack all you need attacked [3]
At that time the debate on the position that art and design should take, was in effect. Find conflicting statements in their entirety, but in all cases, we see the seeds of change, not just a transformation of the code and style, but changes in the processes and meanings of design.
World War disturbs the rules and behaviors, it is necessary to grasp its prophetic fury without nostalgia, rejecting all scholastic conservative instinct [4]
3. Political mysticism
The trend to higher force and momentum in taking forward this change was expressionism. There, all the conservative and classical in style, form, meaning, significance, and in terms of tools, processes, systems and programs are put into crisis, challenged and rejected.
expressionism (...) is the spiritual father of
extreme concepts of our time, the Bolsheviks and abstract art. [5]
This position also will cross paths with a mystical vision of reality and purpose of art itself (inherited from romanticism). The work of these authors, especially in regard to the graphics, will be charged with a strong mystical, magical aspects confluence with a messianic tone that gives the art. We perceive, as an aesthetic stance is accompanied by a vision that goes beyond the work itself. Strong political content, the clusters in which militated most of these artists not only sought to link art to the people, but believed that art would be the tool for social revolution.
! And we, who are at the mercy of society that devours everything, we are not parasites, allies of a society that knows no does not want any architecture, and therefore does not need architects! (...) Any strong desire for future pregnancy is architecture. (...) Then there is just art, and this art will radiate from every corner. This alone gives a measure of things, carefully distinguishes the sacred from the profane, the greatest of the petty, and provides everyday things a little bit of its glow [6]
4. Craft
Before the 1st. World War, questioning the stiff academic historicism, avant-garde would converge later in expressionism, rowed by a return to craft, and by the way of life and significance of late Gothic. In the spirit of romanticism still in force in the arts, the rejection of the society to which they belonged, generated a spirit of intuitive return to the craft:
architects, sculptors, painters, go back to the craft! [7]
Here we find the first great conflict of our time. And this contradiction is not about style, material or architectural conceptualization, but it is based on the ideological processes of design. Indeed, the debate is in the position in which the author has raised his work with that think about design tools, and from there get a style, a program to materiality.
Expressionism is like socialism, the same cry against materialism, against antiespĂritu against the machine against centralization, for the soul, by God, for what is human in man [8 ]
However, the counterpart to this address will significantly change the processes of design, but not because of them. But by an ideological position, the product of his time. The fight, as the above quote, was against the machine and against progress, who attributed the evils society. The backward nature of these claims, makes those who think of a real social alternative, from art to abandon these positions. That is, an ideological shift in thinking, it meant a change in the design process, which generated the other constraints in their work. Discursive tools that produce these changes, which formerly called ideological processes of design.
Only four years after the appeal of W. Gropius to return to the craft, whom he would exclaim:
Art and technology: a new unit! [9]
Another example of this occurs in terms of planning and construction concepts. Return to Gothic, meant a return to small-town settings and self-sufficient. The trend toward rural, locked in itself, as a refuge for the city than anything disturbing, was also one of the reverse ideological
This attempt to turn back the clock of history, is the reactionary side of expressionism . His face was yoked to a progressive pessimism about the future of civilization, which the expressionists shared with the modern movement [10]
Authors such as Bruno Taut, are immersed in this contradiction. While in his Alpine Architecture, raises small rural community villages, the architecture of these populations, is designed in glass and steel, and mirrored skyscrapers. That would be the seed of the new thinking of expressionism, as a more progressive: Glass Architecture. Through it achieved using art as a tool for social transformation. And from there, the birth of the concepts of standardization, as discussed below.
is important to point out again as the stylistic changes are the result of changes in the processes of design, and as the latter are modified according to its terms ideological.
5. Standardization
The search for an artistic identity of its own, was one of the bastions of expressionism. This feature will generate the most ideological confrontation with the precursors of rationalism. While the modern movement, searched (and search) to replace an outdated for a modern language, and a system of dogmas, on the other, the expressionism is opposed to any kind of dogmas and guidelines. While rationalism sought to generate systematic and standardized parameters architectural expressionism opposed to the methodical repetition of parts or solutions. This dispute (which rises in the center of the edge) was expressed at the Congress held in Cologne by the Deutscher Werbund in 1914. There H. And H. Muthesius Van de Velde embody each of the positions. In their presentations, the first of which says:
architecture and with it the entire scope of the Werbund, seeks to standardize and only through it can recover the former general meaning accounted for in times of harmonious culture . (...) Only the standardization, which should be conceived as a result of a healthy merger may enable the development of a safe taste of general validity. [11]
This appeal by the mechanization and standardization, will be a counterpoint, by van de Velde:
long as there are artists in the Werbund and while they continue to exert an influence over its destiny, will protest against any suggestion aimed at establishing a canon and standardization. The artist is by its very essence, an ardent individualist, a free creative and spontaneous, never submitted to a discipline that imposes a type, a canon. Instinctively suspicious of everything you can sterilize your inspiration and all who preach a standard. (...) Starts the era of imitation and establishing the use of forms and ornaments for the production of which no one uses the creative impulse, then starts the period of sterility. [12]
Probably, this dispute within the community itself, was an indication of the future of expressionism. The same, open rise to two possible paths. One is the convergence of the vanguards of this movement, where it empties into rationalism. The other way is the free development of style, with all its features, such as a parallel course to the modern.
Perhaps the main difference that one might find between the two, is the systematization of forms, a concept that carries on rationalism as a bulwark, and that in the first instance seem to undermine the alleged independence creative expressionism. But then again, rationalism known, even by using pre-made parts, generate plenty of formal solutions.
When the machine invokes the rationalist, it looks as sleek, modern, accurate and good tone. [13]
The major difference between the position of Van de Velde and H. Muthesius, shows the same environment as the intellectual, cultural and artistic heritage and to similar constraints, design processes start from different places, attributable to ideological and discursive positioning, and not due to functional requirements or programmatic.
is not the purpose of this paper a detailed analysis of German Expressionism, just take it as such in their design processes. It could be analyzed similar counterpoints and contradictions, to analyze the use of the axis of symmetry in the sketches and unbuilt projects of Mendelsohn and Gropius; projects Crystal B. Taut, W. Luckhardt, P. Bherens and P. Gosch, the resistance to the realization of projects of H. Finsterlin, etc.
PART (B)
In the first part of this paper, we used the German expressionism as an example of how all the tools and systems that make up the design process are subordinates under major conceptualizations, which are linked in its entirety with no programmatic and ideological positions, materials, construction, scientific or systematic.
In this second part, we analyze some of the elements that make up the ideological processes of design and compared to systemic theories and globalizing.
6. Tools.
key part in creating, is the use of tools. Design processes are then conditioned and relativized to the action of the methods of the machinery:
The original `` `o` particular beauty of a product depends the intrinsic characteristics of the machine that makes it. [14]
course, it is a choice. The exacerbation of these mechanisms, the design of these processes are subordinated to the ideological discourse, exemplified in the case of Gropius, in his advocacy of modern equipment and their use of discourse and social objectives mentioned above. (...)
overcome only in the production process of the spiritual powers in the wake of the bourgeois conception, your order form, this production will be politically appropriate, and also those barriers competitive producer of both forces should jointly crack [15] .
7. Language
It then, that the stylistic language (to call it somehow) is not an accident or by chance. Is a direct consequence of the ideological processes of design. That is, it is not derived from a mechanistic process, or something conceptualized in terms of its operational powers or systematic. The language of a work depends on a guiding principle deferred ideological and discursive logic. Here
found Moses in the side of the mountain, a rock cavern roof (...) is prepared to undertake the work that God entrusted, under troubling circumstances (...) Then how did you write? In the school of Thebes had learned both decorative hieroglyphs of Egypt, as well as the Euphrates cuneiform (...) Moses wished fervently writing that even children could learn in a few days, and therefore he could invent and create, through the nearness of God, in a few days. That should be designed and invented writing, they do not exist. (...) Warned that they could describe the world, both that which was in space and what was not what was done and I thought, in a word, everything. [16]
language, we argue, derives from a need has arisen from the ideological processes of design, and therefore not a utilitarian or stylistic, and therefore is not capable of being systematized and reduced to a repetitive and standardized process.
8. The danger
The pitfall of the systems trying to find a definitive logical-creative processes through the systematic study of design problems, lies in the self-restraint which are enclosed. We have argued that these processes are conditioned by guiding ideological principles, while the methods described below, this element is left out. It seeks to systematize a process that is based, precisely, in its inability to reduce repetitive gestures.
8.1. The General Systems Theory .
This theory devised by L. von Bertalanffy, raises the possibility of becoming a meta-theory, by which to describe and study various disciplines, according to similar categories. Because of this theory, models and general rules are applicable to any discipline regardless of their internal logic, reasons, origins, goals and meanings. Naturally, the author believes that this could become a situation full of fallacies analogies, so that implements the concept of isomorphism (the replacement of complex systems simpler ones). Of course, that in its own systemic logic, any artistic work, and every human being is plausible to be studied methodically, and therefore subject to will ( environmentalism theory [17] ). Art, tools and language, logical consequences will be using this system, leaving no room for the spirit, thought, free will.
8.2 The Theory of Patterns (Patterns).
by Christopher Alexander's theory of patterns, says:
Each pattern describes a problem that occurs again and again in our environment, to describe then the kernel of the solution to that problem, so such a solution could be used more than a million times without doing or even twice in the same way. [18]
Thus, while recognizing the existence of infinitely many solutions, the system shuts down as to the impossibility of endless problems. N. Chomsky in his theory of generative grammar [19] , implies the possibility of studying language of a comprehensive and definitive. It is believed then that language is the result of a design problem, functional or stylistic. While we hold that the language is the tool that expresses a guiding ideology and discourse. These two elements, are ignored in the theory of patterns.
8.3 The Legal Truth
The legal truth, "says Henri Altlan-analyzed all cases, and generates a` true `by consensus. This stance should be renewed constantly in danger of becoming a paradigm that violates its own essence. Scientific truth constantly changing, incorporating new data would avoid this danger.
However, the temptation or the need-to rest in the contemplation of the naked truth is so great that every half-bloom generation sees great scientific cosmologies reveal, finally, the truth about the Ultimate Reality of things (...) where you should believe in order to finally rid of illusions and errors of the false belief of the past. [20]
The danger, then, is the absurd belief that science and systems can achieve an ultimate truth, the thought of the creator is an anecdotal and that the interpretation of the viewer a consequence of its context. This is the real danger.
This does not mean that, by most educated men, comprising among them scientists, it is still the ultimate state of physical and biological theories is the truth that it is impossible not to believe because it has `` `` scientifically proven. [21]
Vassily Kandinsky, On Concerning the Spiritual in Art.
------ 1. Introduction.
The aim of this paper is to show how all design processes, particularly those relating to architecture, are regulated under a single guiding principle, itself made up of devices, which will call: ideological processes design. In other words, it demonstrates how, through different mechanisms of deliberate concealment or unconscious, all the tools and systems that make up the design process are subordinates under major conceptualizations, which are linked in its entirety with no programmatic and ideological positions, materials, construction, scientific, or systematic computable.
In part A, we analyze an artistic and architectural, and ideological processes of design that there are verified by differentiating functional and programmatic issues. In Part B we will examine different aspects of these processes, contrasting with some systemic theories.
PART (A)
look at a specific time period, the debate taking place in it, as exemplary. Thus, we find different positions, relying on different theories and views, sought disparate design processes hiding their true intentions in some cases, but always subordinate to the ideological processes of design. The case is discuss different perspectives on the arts prior to the Bauhaus and during its existence, in times of the Weimar Republic and then to her.
2. The epic transforming
worth noting first that the time to study is no doubt, particularly in history in general, and in design history. Following the line of romance, and the fury of avant-garde, all the speeches and creations are laden with a profound prophetic fervor. He felt the need to amend the very foundations of social and artistic speech, and was convinced that these changes would be destabilizing and durable.
At the top of the apex is, often, only one man. The joy of contemplation is equal to its excessive inner sadness. Those who are near it, do not understand, and with indignation, accusing him mad or impostor [1]
Simultaneously, it was believed that art and design, would be those tools by which large and critical social changes would be carried out:
Art and people should form a unit. The must cease to be art enjoyment of a few, to become happy and living of the masses. The union of the arts under the wings of a great architecture, it is our goal [2]
Finally, it is essential to clarify that the climate before the world wars, during, strengthened the expectation of change, vitality and grandeur of these social changes:
art is the alarm cry of those who live in themselves the fate of mankind ... are men who do not look away to protect yourself from emotions but rather open their eyes wide open to attack all you need attacked [3]
At that time the debate on the position that art and design should take, was in effect. Find conflicting statements in their entirety, but in all cases, we see the seeds of change, not just a transformation of the code and style, but changes in the processes and meanings of design.
World War disturbs the rules and behaviors, it is necessary to grasp its prophetic fury without nostalgia, rejecting all scholastic conservative instinct [4]
3. Political mysticism
The trend to higher force and momentum in taking forward this change was expressionism. There, all the conservative and classical in style, form, meaning, significance, and in terms of tools, processes, systems and programs are put into crisis, challenged and rejected.
expressionism (...) is the spiritual father of
extreme concepts of our time, the Bolsheviks and abstract art. [5]
This position also will cross paths with a mystical vision of reality and purpose of art itself (inherited from romanticism). The work of these authors, especially in regard to the graphics, will be charged with a strong mystical, magical aspects confluence with a messianic tone that gives the art. We perceive, as an aesthetic stance is accompanied by a vision that goes beyond the work itself. Strong political content, the clusters in which militated most of these artists not only sought to link art to the people, but believed that art would be the tool for social revolution.
! And we, who are at the mercy of society that devours everything, we are not parasites, allies of a society that knows no does not want any architecture, and therefore does not need architects! (...) Any strong desire for future pregnancy is architecture. (...) Then there is just art, and this art will radiate from every corner. This alone gives a measure of things, carefully distinguishes the sacred from the profane, the greatest of the petty, and provides everyday things a little bit of its glow [6]
4. Craft
Before the 1st. World War, questioning the stiff academic historicism, avant-garde would converge later in expressionism, rowed by a return to craft, and by the way of life and significance of late Gothic. In the spirit of romanticism still in force in the arts, the rejection of the society to which they belonged, generated a spirit of intuitive return to the craft:
architects, sculptors, painters, go back to the craft! [7]
Here we find the first great conflict of our time. And this contradiction is not about style, material or architectural conceptualization, but it is based on the ideological processes of design. Indeed, the debate is in the position in which the author has raised his work with that think about design tools, and from there get a style, a program to materiality.
Expressionism is like socialism, the same cry against materialism, against antiespĂritu against the machine against centralization, for the soul, by God, for what is human in man [8 ]
However, the counterpart to this address will significantly change the processes of design, but not because of them. But by an ideological position, the product of his time. The fight, as the above quote, was against the machine and against progress, who attributed the evils society. The backward nature of these claims, makes those who think of a real social alternative, from art to abandon these positions. That is, an ideological shift in thinking, it meant a change in the design process, which generated the other constraints in their work. Discursive tools that produce these changes, which formerly called ideological processes of design.
Only four years after the appeal of W. Gropius to return to the craft, whom he would exclaim:
Art and technology: a new unit! [9]
Another example of this occurs in terms of planning and construction concepts. Return to Gothic, meant a return to small-town settings and self-sufficient. The trend toward rural, locked in itself, as a refuge for the city than anything disturbing, was also one of the reverse ideological
This attempt to turn back the clock of history, is the reactionary side of expressionism . His face was yoked to a progressive pessimism about the future of civilization, which the expressionists shared with the modern movement [10]
Authors such as Bruno Taut, are immersed in this contradiction. While in his Alpine Architecture, raises small rural community villages, the architecture of these populations, is designed in glass and steel, and mirrored skyscrapers. That would be the seed of the new thinking of expressionism, as a more progressive: Glass Architecture. Through it achieved using art as a tool for social transformation. And from there, the birth of the concepts of standardization, as discussed below.
is important to point out again as the stylistic changes are the result of changes in the processes of design, and as the latter are modified according to its terms ideological.
5. Standardization
The search for an artistic identity of its own, was one of the bastions of expressionism. This feature will generate the most ideological confrontation with the precursors of rationalism. While the modern movement, searched (and search) to replace an outdated for a modern language, and a system of dogmas, on the other, the expressionism is opposed to any kind of dogmas and guidelines. While rationalism sought to generate systematic and standardized parameters architectural expressionism opposed to the methodical repetition of parts or solutions. This dispute (which rises in the center of the edge) was expressed at the Congress held in Cologne by the Deutscher Werbund in 1914. There H. And H. Muthesius Van de Velde embody each of the positions. In their presentations, the first of which says:
architecture and with it the entire scope of the Werbund, seeks to standardize and only through it can recover the former general meaning accounted for in times of harmonious culture . (...) Only the standardization, which should be conceived as a result of a healthy merger may enable the development of a safe taste of general validity. [11]
This appeal by the mechanization and standardization, will be a counterpoint, by van de Velde:
long as there are artists in the Werbund and while they continue to exert an influence over its destiny, will protest against any suggestion aimed at establishing a canon and standardization. The artist is by its very essence, an ardent individualist, a free creative and spontaneous, never submitted to a discipline that imposes a type, a canon. Instinctively suspicious of everything you can sterilize your inspiration and all who preach a standard. (...) Starts the era of imitation and establishing the use of forms and ornaments for the production of which no one uses the creative impulse, then starts the period of sterility. [12]
Probably, this dispute within the community itself, was an indication of the future of expressionism. The same, open rise to two possible paths. One is the convergence of the vanguards of this movement, where it empties into rationalism. The other way is the free development of style, with all its features, such as a parallel course to the modern.
Perhaps the main difference that one might find between the two, is the systematization of forms, a concept that carries on rationalism as a bulwark, and that in the first instance seem to undermine the alleged independence creative expressionism. But then again, rationalism known, even by using pre-made parts, generate plenty of formal solutions.
When the machine invokes the rationalist, it looks as sleek, modern, accurate and good tone. [13]
The major difference between the position of Van de Velde and H. Muthesius, shows the same environment as the intellectual, cultural and artistic heritage and to similar constraints, design processes start from different places, attributable to ideological and discursive positioning, and not due to functional requirements or programmatic.
is not the purpose of this paper a detailed analysis of German Expressionism, just take it as such in their design processes. It could be analyzed similar counterpoints and contradictions, to analyze the use of the axis of symmetry in the sketches and unbuilt projects of Mendelsohn and Gropius; projects Crystal B. Taut, W. Luckhardt, P. Bherens and P. Gosch, the resistance to the realization of projects of H. Finsterlin, etc.
PART (B)
In the first part of this paper, we used the German expressionism as an example of how all the tools and systems that make up the design process are subordinates under major conceptualizations, which are linked in its entirety with no programmatic and ideological positions, materials, construction, scientific or systematic.
In this second part, we analyze some of the elements that make up the ideological processes of design and compared to systemic theories and globalizing.
6. Tools.
key part in creating, is the use of tools. Design processes are then conditioned and relativized to the action of the methods of the machinery:
The original `` `o` particular beauty of a product depends the intrinsic characteristics of the machine that makes it. [14]
course, it is a choice. The exacerbation of these mechanisms, the design of these processes are subordinated to the ideological discourse, exemplified in the case of Gropius, in his advocacy of modern equipment and their use of discourse and social objectives mentioned above. (...)
overcome only in the production process of the spiritual powers in the wake of the bourgeois conception, your order form, this production will be politically appropriate, and also those barriers competitive producer of both forces should jointly crack [15] .
7. Language
It then, that the stylistic language (to call it somehow) is not an accident or by chance. Is a direct consequence of the ideological processes of design. That is, it is not derived from a mechanistic process, or something conceptualized in terms of its operational powers or systematic. The language of a work depends on a guiding principle deferred ideological and discursive logic. Here
found Moses in the side of the mountain, a rock cavern roof (...) is prepared to undertake the work that God entrusted, under troubling circumstances (...) Then how did you write? In the school of Thebes had learned both decorative hieroglyphs of Egypt, as well as the Euphrates cuneiform (...) Moses wished fervently writing that even children could learn in a few days, and therefore he could invent and create, through the nearness of God, in a few days. That should be designed and invented writing, they do not exist. (...) Warned that they could describe the world, both that which was in space and what was not what was done and I thought, in a word, everything. [16]
language, we argue, derives from a need has arisen from the ideological processes of design, and therefore not a utilitarian or stylistic, and therefore is not capable of being systematized and reduced to a repetitive and standardized process.
8. The danger
The pitfall of the systems trying to find a definitive logical-creative processes through the systematic study of design problems, lies in the self-restraint which are enclosed. We have argued that these processes are conditioned by guiding ideological principles, while the methods described below, this element is left out. It seeks to systematize a process that is based, precisely, in its inability to reduce repetitive gestures.
8.1. The General Systems Theory .
This theory devised by L. von Bertalanffy, raises the possibility of becoming a meta-theory, by which to describe and study various disciplines, according to similar categories. Because of this theory, models and general rules are applicable to any discipline regardless of their internal logic, reasons, origins, goals and meanings. Naturally, the author believes that this could become a situation full of fallacies analogies, so that implements the concept of isomorphism (the replacement of complex systems simpler ones). Of course, that in its own systemic logic, any artistic work, and every human being is plausible to be studied methodically, and therefore subject to will ( environmentalism theory [17] ). Art, tools and language, logical consequences will be using this system, leaving no room for the spirit, thought, free will.
8.2 The Theory of Patterns (Patterns).
by Christopher Alexander's theory of patterns, says:
Each pattern describes a problem that occurs again and again in our environment, to describe then the kernel of the solution to that problem, so such a solution could be used more than a million times without doing or even twice in the same way. [18]
Thus, while recognizing the existence of infinitely many solutions, the system shuts down as to the impossibility of endless problems. N. Chomsky in his theory of generative grammar [19] , implies the possibility of studying language of a comprehensive and definitive. It is believed then that language is the result of a design problem, functional or stylistic. While we hold that the language is the tool that expresses a guiding ideology and discourse. These two elements, are ignored in the theory of patterns.
8.3 The Legal Truth
The legal truth, "says Henri Altlan-analyzed all cases, and generates a` true `by consensus. This stance should be renewed constantly in danger of becoming a paradigm that violates its own essence. Scientific truth constantly changing, incorporating new data would avoid this danger.
However, the temptation or the need-to rest in the contemplation of the naked truth is so great that every half-bloom generation sees great scientific cosmologies reveal, finally, the truth about the Ultimate Reality of things (...) where you should believe in order to finally rid of illusions and errors of the false belief of the past. [20]
The danger, then, is the absurd belief that science and systems can achieve an ultimate truth, the thought of the creator is an anecdotal and that the interpretation of the viewer a consequence of its context. This is the real danger.
This does not mean that, by most educated men, comprising among them scientists, it is still the ultimate state of physical and biological theories is the truth that it is impossible not to believe because it has `` `` scientifically proven. [21]
Teodoro Tenenbaum. October 2009
[1] Vassily Kandinsky, On the Spiritual in Art. Libertador editions.
1910 [2] Arbeisrat fur Kunst, inspired by a great architecture. 1919
[3] Arnold Schönberg, 1914. quoted in Rudolph Penht. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[4] Bruno Zevi, Erich Mendelsohn Editorial Gustavo Gili 1982
[5] A. Jolla. The spirit of the time. 1918. quoted in Rudolph Penht. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[6] Bruno Taut, the new thinking in architecture, for the fur Kunst Arbeisrat
1919 [7] Walter Gropius. Quoted in Adolf Behne 1923 The modern functional building. Ed Rowan
[8] Herbert Kuhn. Quoted in Adolf Behne 1923 The modern functional building. Ed Rowan
[9] W. Gropius. Cited by U. Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[10] Penht Rudolph. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[11] H. Muthesius Werkbund Congress. Cited by U.
1914 Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[12] H. Van de Velde's Werkbund Congress. Cited by U.
1914 Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[13] Adolf Behne 1923 The modern functional building. Ed Rowan
[14] Walter Gropius, The New Architecture and the Bauhaus. Barcelona, \u200b\u200bLumen, 1966.
[15] Benjamin, Walter. The author as producer. 1934. Ed Taurus, Madrid 1975
[16] Thomas Mann, The Ten Commandments 1945. AA.VV. ed., Buenos Aires.
[17] See S. Ramirez, General Systems Theory of Ludwig von Bertalanffy. Ed UNAM, Mexico.
[18] Christopher Alexander, Essay on the synthesis of form. Infinite Ed.
[19] Noam Chomsky , essential work. Critical Ed.
[20] Henri Atlan, rightly or wrongly. Barcelona. Tusquets Ed. 1991
[21] Henri Atlan, rightly or wrongly. Barcelona. Tusquets Ed. 1991
1910 [2] Arbeisrat fur Kunst, inspired by a great architecture. 1919
[3] Arnold Schönberg, 1914. quoted in Rudolph Penht. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[4] Bruno Zevi, Erich Mendelsohn Editorial Gustavo Gili 1982
[5] A. Jolla. The spirit of the time. 1918. quoted in Rudolph Penht. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[6] Bruno Taut, the new thinking in architecture, for the fur Kunst Arbeisrat
1919 [7] Walter Gropius. Quoted in Adolf Behne 1923 The modern functional building. Ed Rowan
[8] Herbert Kuhn. Quoted in Adolf Behne 1923 The modern functional building. Ed Rowan
[9] W. Gropius. Cited by U. Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[10] Penht Rudolph. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[11] H. Muthesius Werkbund Congress. Cited by U.
1914 Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[12] H. Van de Velde's Werkbund Congress. Cited by U.
1914 Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[13] Adolf Behne 1923 The modern functional building. Ed Rowan
[14] Walter Gropius, The New Architecture and the Bauhaus. Barcelona, \u200b\u200bLumen, 1966.
[15] Benjamin, Walter. The author as producer. 1934. Ed Taurus, Madrid 1975
[16] Thomas Mann, The Ten Commandments 1945. AA.VV. ed., Buenos Aires.
[17] See S. Ramirez, General Systems Theory of Ludwig von Bertalanffy. Ed UNAM, Mexico.
[18] Christopher Alexander, Essay on the synthesis of form. Infinite Ed.
[19] Noam Chomsky , essential work. Critical Ed.
[20] Henri Atlan, rightly or wrongly. Barcelona. Tusquets Ed. 1991
[21] Henri Atlan, rightly or wrongly. Barcelona. Tusquets Ed. 1991
