Desde los organismos a los edificios, de la practicidad de los espacios, hacia la estimulación tácita de las emociones.

Abstract

At the end of the 19th century, specifically in the contexts of the United States and Europe, the emergence of ruptures around the conception of the artifactual became increasingly evident. The urgency of the professionals attached to the design disciplines to base their practices on a foundation that did not come from the meanings of the art of the time, became a kind of categorical imperative. When designers became interested in other sources of knowledge to ground their theories, the concepts of beauty and functionality, subject for decades to the conception of shape (forms), were finally divorced. In order to constitute methods that would help them distance themselves from subjectivity, and that would bring Design and Architecture closer to the knowledge and observational practices of the sciences, designers opened the way to the appropriateness of analogies. Although the intelligible processes they sought to establish pursued a kind of objectivity of functions, their attempts were valued, and at the same time criticized as a utopian task to achieve. The critical, comparative and interpretative analysis between the works that seemed to materialize such processes and the criticisms that accuse their absence are presented to question their lack or lack of coherence.