When Le Corbusier, in his case by introducing - in addition to architectural promenade - the famous 'jet poetic objects', he extrapolated from the world SELECTED plastic fragments, which then resulted in design . A world that could be one of nature, rather than history or even that of the machine and everyday life, to which they belonged elements chosen through "eyes that know see." Once Le Corbusier had met the functional requirements of the architecture through processes almost normative, he was - as he had learned on the Acropolis of Athens - emerge from the "standardization" of his artistic personality, infusing its architecture that Zevi defines a "geometric cosmic throb." These items should not simply be there, but provoke a reaction, not impassive
had to leave the audience, but engage in a feeling, an emotion in which the Swiss architect called it poetry. While there is therefore a vision of architecture as a machine that would work well for first, getting closer to a proper scientific and technical side, on the other hand, Le Corbusier - who was also a painter and sculptor - has taught us that architecture should give something more , something that today would call an "information" over which he tied to some particular objects (bones, shells, leaves, twigs, stones, etc.)..
To bring the discussion to the present day, as stated by Prof. Wise, gave the "works well" is an essential assumption that we now take for granted, what gives architecture (as well as other fields) a surplus, it is the item information. The new architecture as a whole is becoming an object poétique à reaction, and the entire design process, advanced on information, create aesthetic forms must able to excite. If some of these forms are made by the purity of the Platonic solids, while others identify the - like Le Corbusier's last period of his activities - in a more free and complex but yet (or maybe more) to pluck those strings feelings that make us excited. As already stated in another post, today we are much closer to those for Greeks were the ideals of beauty: the Greek sculpture was considered more beautiful the more she approached to simulate the real - recalled the famous bunch of grapes of Apelles (IV century BC), according to the widespread anecdotal, it was so similar to real that "the birds were running to peck the grapes." This concept of mimesis is delivered today in In-architectural training, so that we find (one name for all: Calatrava) real architectures that are drawn from reflections on shells, bones and so on. Thanks to information technology, biology goes even more powerfully in the architecture, especially in the study of its chemical and physical processes, so much so that you start to see more products like building a body, in aesthetic ecstasy, which has now extended those assimilated and Le Corbusier "provocative presence of emotion."
image: Kunthaus de Graz by Peter Cook
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