Starting with the Industrial Revolution, innovations in materials and techniques, such as steel and glass, allowed new typologies and heights. Modern architecture was consolidated after the First World War as an avant-garde movement that proposed a style adapted to the new social and economic order, with emphasis on functionality, geometric simplification and access to housing for the middle and working classes.

Towards the end of the century, part of the architectural community expressed its rejection of modernism, which they considered ahistorical and lacking in ornamentation, which gave rise to the development of postmodern architecture and, later, to currents of contemporary architecture characterized by stylistic diversity and the intensive use of advanced technology.

contemporary architecture

• - The Beijing National Stadium (Beijing, China), 2003-2007, by Herzog & de Meuron.

• - University of Vienna Library and Learning Center (Vienna, Austria), 2008, by Zaha Hadid.

• - The Isbjerget housing project") (Aarhus, Denmark), inspired by the shape and color of icebergs, 2013, by CEBRA, JDS Architects, Louis Paillard, and SeARCH.

• - Waterfall House, Frank Lloyd Wright, Pennsylvania (United States.

Since the 1980s, as the complexity of buildings began to increase (in terms of structural systems, services, energy, and technologies), the field of architecture became multidisciplinary with specializations for each project type, technological expertise, or project delivery methods. Additionally, there has been greater separation between the 'design' architect and the 'project' architect who ensures that the project meets required standards and addresses liability issues. The preparatory processes for the design of any large building have become increasingly complicated and require preliminary studies of issues such as durability, sustainability, quality, money and compliance with local laws. A large structure can no longer be the design of one person, but the work of many. Modernism and postmodernism have been criticized by some members of the architectural profession who feel that successful architecture is not a personal, philosophical, or aesthetic pursuit of individualists; rather, it has to consider people's daily needs and use technology to create livable environments, and the design process is based on studies from social, environmental and behavioral sciences.

Environmental sustainability has become a major issue, with a profound effect on the architectural profession. Many developers, those who support building finance, have been educated to encourage the facilitation of environmentally sustainable design, rather than solutions based primarily on immediate cost. Prime examples of this can be found in passive solar building design, greener roof designs, biodegradable materials, and more attention to a structure's energy use. This great change in architecture has also changed architecture schools to focus more on the environment. There has been an acceleration in the number of buildings seeking to comply with sustainable green building design principles. The sustainable practices that were at the center of vernacular architecture increasingly provide inspiration for contemporary environmentally and socially sustainable techniques. The U.S. Green Building Council's LEED (Leadership in Energy and Environmental Design) rating system has been instrumental in this.

At the same time, the latest movements of New Urbanism, metaphorical architecture, complementary architecture, neo-futurism and new classical architecture promote a sustainable approach to construction that appreciates and develops intelligent growth, architectural tradition and classical design. ultramodern urban life in many countries, emerged even in developing countries such as Nigeria, where international styles had been represented since the middle of the century, mainly due to the inclinations of foreign-trained architects.[10]​.

According to the popular cliché, in the oldest surviving treatise on the subject, De Architectura, by Vitruvius, in the century BC. C., it is said that architecture rests on three principles: Beauty (Venustas), Firmness (Firmitas) and Utility (Utilitas). Architecture can be defined as a balance between these three elements, without overtaking any of the others. It would make no sense to try to understand a work of architecture without accepting these three aspects.

However, it is enough to read the treaty to realize that Vitruvius required these characteristics for some very particular public buildings. In fact, when Vitruvius dares to attempt an analysis of the art he writes about, he proposes understanding architecture as composed of four elements: architectural order (relation of each part to its use), layout ("the species of layout [...] are the layout in plan "Plan (architecture)"), in elevation and in perspective"), proportion ("uniform agreement between the entire work and its members") and distribution (in Greek οἰκονομία, oikonomia, consists "in the proper and best possible use of materials and land, and in seeking the lowest cost of the work achieved in a rational and considered way"). His doubts in this regard are quite intense, since four pages later he divides architecture into three parts: construction, gnomic and mechanics. However interesting and suggestive it may be, it must not be forgotten that this treatise is the only classical treatise that has come down to us, and the probability of it being the best of its time is small.

The history of the various versions of Vitruvius' treatise well summarizes the conflict when it comes to defining architecture. In 1674 Claude Perrault, a physiologist specialized in cadaver dissection and a good draftsman, published his abridged translation of Vitruvius's treatise, which was completely reorganized. Perrault's summary is the means by which Vitruvius became known and which since then influenced the treatises and theories of the following centuries. In that summary in which the Vitruvian triad is going to see the light.

In general, the most renowned architects of the century, among whom we can mention Mies van der Rohe, Le Corbusier, Frank Lloyd Wright, Louis Kahn, Alvar Aalto, Luis Barragán, Tadao Andō, Richard Meier, César Pelli or Pedro Ramírez Vázquez, have given their craft a different definition, focusing its purpose differently. William Morris, founder of Arts and Crafts, gave the following definition:

Or, considering the opinion of the architect-historian Bruno Zevi:

The substantial difference between Perrault's version and the previous ones lies, according to José Luis González Moreno-Navarro"), in that Perrault distorts "the synthetic character of architecture into a strictly analytical vision fragmented into three autonomous branches [which] is a consequence of his mental structure [...] formed throughout a life dedicated to the analysis of living organisms, which evidently at no time recomposed and gave life again." On the contrary, according to Vitruvius:

In the academic field, the architectural production process, or project, involves sensitivity as a means of trimming the different associated disciplines, and even though in past times extensive treatises were written, today the legal and the technical dictate the rules, but not the ways. Architecture is then - from the contemporary and supported by new technological resources - an exercise in which order, synthesis, semiology, matter are effectively involved, but even more important than that, it is a creative, innovative, unprecedented work, as long as architecture produced from the real estate industry is excluded.

The importance of architecture in the century has been enormous, since its exercise was responsible for no less than a third of the materials carried by humanity in that period.[11]​.

During this period, there has not only been a large increase in population, with its corresponding building needs (especially housing), but also important movements of populations, from rural to urban areas and, after the Cold War, from poor countries to rich countries. Migratory movements have meant not only an increase in demand for new buildings in urban areas, but also the abandonment of built heritage that, in many cases, has been permanently lost.

This constant change in the needs and uses associated with buildings explains another of the characteristics of modern Architecture. This constant rethinking of concepts has developed different and numerous architectural styles with the desire to provide an answer to this question; In the century, neoclassical orthodoxy was abandoned in favor of a stylistic eclecticism of a historicist nature, giving rise to neo-Gothic, neo-Romanesque, neo-Mudejar... Only with the arrival of the century did truly original styles emerge, such as Arts and Crafts, Art Nouveau "Modernism (art)"), Modernism "Modernism (art)"), Bauhaus, International Style, Post-Modernism, etc.

Contenido

La filosofía de la arquitectura es una rama de la filosofía del arte, que se ocupa del valor estético de la arquitectura, su semántica y las relaciones con el desarrollo de la cultura. Muchos filósofos y teóricos, desde Platón hasta Michel Foucault, Gilles Deleuze, Robert Venturi y Ludwig Wittgenstein se han preocupado por la naturaleza de la arquitectura y si la arquitectura se distingue o no de la construcción.

Historical treaties

The oldest surviving written work on the subject of architecture is De architectura by the Roman architect Vitruvius at the beginning of the century AD. C.[12]​ According to Vitruvius, a good building must satisfy the three principles of firmitas, utilitas, venustas,[13]​[14]​ commonly known by the original translation: firmness, comfort and delight. An equivalent in Spanish would be:.

• - Durability: a building must stand firm and remain in good condition.

• - Utility: it must be suitable for the purposes for which it is used.

• - Beauty: it must be aesthetically pleasing.

According to Vitruvius, the architect must strive to fulfill each of these three attributes to the best of his ability. Leon Battista Alberti, who elaborates on Vitruvius' ideas in his treatise De re aedificatoria, saw beauty primarily as a matter of proportion, although ornament also played a role. For Alberti, the rules of proportion were those that governed the idealized human figure, the golden mean. The most important aspect of beauty was therefore an inherent part of an object, rather than something superficially applied, and was based on universal and recognizable truths. The notion of style in the arts was not developed until the 19th century, with the writings of Giorgio Vasari.[15] By the 19th century, his Lives of the most excellent painters, sculptors and architects had been translated into Italian, French, Spanish and English.

In the 19th century, the Italian Mannerist architect, painter and theorist Sebastiano Serlio wrote Tutte L'Opere D'Architettura et Prospetiva (Complete Works on Architecture and Perspective). This treatise exerted an immense influence throughout Europe, being the first manual that emphasized the practical rather than the theoretical aspects of architecture, and was the first to catalog the five orders.[16]​.

At the turn of the century, Augustus Welby Northmore Pugin wrote Contrasts (1836) which, as the title suggested, contrasted the modern industrial world, which he despised, with an idealized image of the neomedieval world. Gothic architecture, Pugin believed, was the only "true form of Christian architecture."[17] In parallel, Gottfried Semper (1803–1879) developed a theory that shifted the debate toward the material, technical, and cultural origins of the architectural form. In his work he proposed the distinction between Kernform (nuclear or structural form) and Kunstform (artistic or symbolic form), establishing a conceptual separation between the supporting structure and its covering, between the constructive core and its formal expression, understanding architecture as a synthesis between technique, matter and significance. The English art critic of the 20th century, John Ruskin, in his Seven Lamps of Architecture, published in 1849, was much more limited in his vision of what constituted architecture. architecture. Architecture was the "art which so arranges and adorns the buildings erected by men... that the sight of them" contributes "to their mental health, power, and pleasure."[18] For Ruskin, aesthetics were of primary importance. His work goes on to assert that a building is not truly a work of architecture unless it is "adorned" in some way. For Ruskin, a well-constructed, well-proportioned and functional building needed at least rope courses or rustification.[18]​.

About the difference between the ideals of architecture and mere construction, the renowned architect of the century Le Corbusier wrote: You use stone, wood and concrete, and with these materials you build houses and palaces: that is construction. Ingenuity is at play. But suddenly you touch my heart, you do me good. I am happy and say: This is beautiful. That is Architecture.[19] Le Corbusier's contemporary, Ludwig Mies van der Rohe, said: Architecture begins when you carefully put two bricks together. There it begins.[20]​.

Modern concepts

The notable 19th century skyscraper architect, Louis Sullivan, promoted a primary precept of architectural design: "Form follows function." While the notion that structural and aesthetic considerations should be completely subject to functionality was met with both popularity and skepticism, it had the effect of introducing the concept of "function" in place of Vitruvius' "utility." "Function" came to be considered to encompass all the criteria of use, perception and enjoyment of a building, not only practical, but also aesthetic, psychological and cultural.

Nunzia Rondanini") stated: Through its aesthetic dimension, architecture goes beyond the functional aspects it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development... Restricting the meaning of (architectural) formalism to art for art's sake is not only reactionary; it can also be a purposeless search for perfection or originality that degrades the form. in a mere instrumentality.[21]​.

Among the philosophies that have influenced modern architects and their approach to building design are Rationalism, empiricism, structuralism, poststructuralism, deconstruction and phenomenology.

At the end of the century, a new concept was added to those included in the compass of both structure and function, the consideration of sustainability and, therefore, sustainable architecture. To meet the contemporary ethos, a building must be constructed in a way that is environmentally friendly in terms of the production of its materials, its impact on the natural and built environment of its surrounding area, and the demands it makes on unsustainable energy sources. for heating, cooling, water and waste management and lighting.

Traditionally, architecture has been considered one of the seven Fine Arts. Certain buildings or other constructions are works of art since they can be considered primarily based on their form or sensible structure or their aesthetics.

From this point of view, although the means of architecture may consist of walls, "Column (architecture)" columns, slabs, ceilings and other construction elements, its purpose is to create meaningful spaces where human beings can develop all types of activities. It is in this "making sense" that architecture (as art) can be distinguished from mere construction. This is how it is capable of conditioning man's behavior in space, both physically and emotionally.

Although nowadays it is usually considered that the main activity of architecture is directed at the design of spaces for shelter and habitation (dwellings), it was only from the 19th century onwards that architects began to concern themselves with the problem of accommodation, habitability "Habitability (architecture)") and the hygiene of dwellings, and to expand their scope of action beyond monuments and representative buildings.

The evolution of specialization and separation of work areas is similar to that of other professions. In past centuries, architects were not only concerned with designing buildings but also with matters that today concern other diverse professions. They designed squares, avenues and parks, a specialization that today is known as exterior design or landscaping.

The specialization of architects in the creation of objects used in buildings, such as furniture, has resulted in the birth of the industrial design profession. Today, the professionals who project and plan the development of urban systems are urban planners. This last profession has separate studies in some countries, while in others its responsibilities are carried out by architects and civil engineers, jointly or independently.

Today, practicing the profession requires a type of professional capable of working in interdisciplinary teams, technically and socially mastering digital technologies, and combining different skills related to design, research, and project management. For the training of this type of professionals to be successful, architecture schools must review their educational models and develop teaching-learning methods that can go beyond established academic programs.[22]​.

• - Portal:Architecture. Content related to Architecture.

• - Visual semiotics in architecture.

• - Mathematics and architecture.

• - Annex:Architectural styles.

• - Díaz-Pines Mateo, Fernando. "Exile of Theory. The malaise in architectural culture and the foreignness of theory" rita_ Indexed Magazine of Academic Texts, 5, pp. 124-129. DOI 10.24192/2386-7027(2016)(v5)(08).

• - AA.VV., Enciclopedia dell'Architettura, Milano., Garzanti, 1996. ISBN 88-11-50465-1.

• - Sergio Bollati and Giuseppe Lonetti, L'organismo architettonico, Firenze, Alinea, 1990.

• - Giorgio Cricco and Francesco Di Teodoro, Itinerario nell'arte, Bologna, Zanichelli, 2003. ISBN 88-08-21740-X.

• - W. Müller e G. Vogel, Atlante di architettura, Milano, Hoepli, 1992. ISBN 88-203-1977-2.

• - Pevsner, Fleming e Honour, Dizionario di architettura, Torino, Utet, 1978 ISBN 88-06-51961-1; ristampato come Dizionario dei termini artistici, Utet Tea, 1994.

• - Ludovico Quaroni, La costruzione del progetto architettonico, Roma-Bari, Laterza, 1996.

• - Riccardo Salvi, Inside the building. Brief considerations sull'architettura d'interni, Milano, Franco Angeli, ISBN 978-88-917-4431-9.

• - Bernard Tschumi and M. Berman, Index. Archivio dell'architettura contemporanea, Milano, postmedia books, 2004. ISBN 88-7490-017-1.

• - Azofra Agustín, E. Between the Vitrubian concinnitas and the commitment to modernity at the beginning of the architecture of the Enlightenment in Spain. The interventions and reports of the architect Juan de Sagarbinaga in five Hispanic cathedrals and a collegiate church. In: Illescas, Laura...[et. to the.]. Cathedrals of the Ibero-American World. Vol.I.pp.179-212. Andavira, 2022. ISBN. 978-84-124831-7-8.

• - Wikisource contains original works of or about Architecture. (by Benito Bails).

• - Wiktionary has definitions and other information about architecture.

• - The Dictionary of the Royal Spanish Academy has a definition for architecture.

Starting with the Industrial Revolution, innovations in materials and techniques, such as steel and glass, allowed new typologies and heights. Modern architecture was consolidated after the First World War as an avant-garde movement that proposed a style adapted to the new social and economic order, with emphasis on functionality, geometric simplification and access to housing for the middle and working classes.

Towards the end of the century, part of the architectural community expressed its rejection of modernism, which they considered ahistorical and lacking in ornamentation, which gave rise to the development of postmodern architecture and, later, to currents of contemporary architecture characterized by stylistic diversity and the intensive use of advanced technology.

contemporary architecture

• - The Beijing National Stadium (Beijing, China), 2003-2007, by Herzog & de Meuron.

• - University of Vienna Library and Learning Center (Vienna, Austria), 2008, by Zaha Hadid.

• - The Isbjerget housing project") (Aarhus, Denmark), inspired by the shape and color of icebergs, 2013, by CEBRA, JDS Architects, Louis Paillard, and SeARCH.

• - Waterfall House, Frank Lloyd Wright, Pennsylvania (United States.

Since the 1980s, as the complexity of buildings began to increase (in terms of structural systems, services, energy, and technologies), the field of architecture became multidisciplinary with specializations for each project type, technological expertise, or project delivery methods. Additionally, there has been greater separation between the 'design' architect and the 'project' architect who ensures that the project meets required standards and addresses liability issues. The preparatory processes for the design of any large building have become increasingly complicated and require preliminary studies of issues such as durability, sustainability, quality, money and compliance with local laws. A large structure can no longer be the design of one person, but the work of many. Modernism and postmodernism have been criticized by some members of the architectural profession who feel that successful architecture is not a personal, philosophical, or aesthetic pursuit of individualists; rather, it has to consider people's daily needs and use technology to create livable environments, and the design process is based on studies from social, environmental and behavioral sciences.

Environmental sustainability has become a major issue, with a profound effect on the architectural profession. Many developers, those who support building finance, have been educated to encourage the facilitation of environmentally sustainable design, rather than solutions based primarily on immediate cost. Prime examples of this can be found in passive solar building design, greener roof designs, biodegradable materials, and more attention to a structure's energy use. This great change in architecture has also changed architecture schools to focus more on the environment. There has been an acceleration in the number of buildings seeking to comply with sustainable green building design principles. The sustainable practices that were at the center of vernacular architecture increasingly provide inspiration for contemporary environmentally and socially sustainable techniques. The U.S. Green Building Council's LEED (Leadership in Energy and Environmental Design) rating system has been instrumental in this.

At the same time, the latest movements of New Urbanism, metaphorical architecture, complementary architecture, neo-futurism and new classical architecture promote a sustainable approach to construction that appreciates and develops intelligent growth, architectural tradition and classical design. ultramodern urban life in many countries, emerged even in developing countries such as Nigeria, where international styles had been represented since the middle of the century, mainly due to the inclinations of foreign-trained architects.[10]​.

According to the popular cliché, in the oldest surviving treatise on the subject, De Architectura, by Vitruvius, in the century BC. C., it is said that architecture rests on three principles: Beauty (Venustas), Firmness (Firmitas) and Utility (Utilitas). Architecture can be defined as a balance between these three elements, without overtaking any of the others. It would make no sense to try to understand a work of architecture without accepting these three aspects.

However, it is enough to read the treaty to realize that Vitruvius required these characteristics for some very particular public buildings. In fact, when Vitruvius dares to attempt an analysis of the art he writes about, he proposes understanding architecture as composed of four elements: architectural order (relation of each part to its use), layout ("the species of layout [...] are the layout in plan "Plan (architecture)"), in elevation and in perspective"), proportion ("uniform agreement between the entire work and its members") and distribution (in Greek οἰκονομία, oikonomia, consists "in the proper and best possible use of materials and land, and in seeking the lowest cost of the work achieved in a rational and considered way"). His doubts in this regard are quite intense, since four pages later he divides architecture into three parts: construction, gnomic and mechanics. However interesting and suggestive it may be, it must not be forgotten that this treatise is the only classical treatise that has come down to us, and the probability of it being the best of its time is small.

The history of the various versions of Vitruvius' treatise well summarizes the conflict when it comes to defining architecture. In 1674 Claude Perrault, a physiologist specialized in cadaver dissection and a good draftsman, published his abridged translation of Vitruvius's treatise, which was completely reorganized. Perrault's summary is the means by which Vitruvius became known and which since then influenced the treatises and theories of the following centuries. In that summary in which the Vitruvian triad is going to see the light.

In general, the most renowned architects of the century, among whom we can mention Mies van der Rohe, Le Corbusier, Frank Lloyd Wright, Louis Kahn, Alvar Aalto, Luis Barragán, Tadao Andō, Richard Meier, César Pelli or Pedro Ramírez Vázquez, have given their craft a different definition, focusing its purpose differently. William Morris, founder of Arts and Crafts, gave the following definition:

Or, considering the opinion of the architect-historian Bruno Zevi:

The substantial difference between Perrault's version and the previous ones lies, according to José Luis González Moreno-Navarro"), in that Perrault distorts "the synthetic character of architecture into a strictly analytical vision fragmented into three autonomous branches [which] is a consequence of his mental structure [...] formed throughout a life dedicated to the analysis of living organisms, which evidently at no time recomposed and gave life again." On the contrary, according to Vitruvius:

In the academic field, the architectural production process, or project, involves sensitivity as a means of trimming the different associated disciplines, and even though in past times extensive treatises were written, today the legal and the technical dictate the rules, but not the ways. Architecture is then - from the contemporary and supported by new technological resources - an exercise in which order, synthesis, semiology, matter are effectively involved, but even more important than that, it is a creative, innovative, unprecedented work, as long as architecture produced from the real estate industry is excluded.

The importance of architecture in the century has been enormous, since its exercise was responsible for no less than a third of the materials carried by humanity in that period.[11]​.

During this period, there has not only been a large increase in population, with its corresponding building needs (especially housing), but also important movements of populations, from rural to urban areas and, after the Cold War, from poor countries to rich countries. Migratory movements have meant not only an increase in demand for new buildings in urban areas, but also the abandonment of built heritage that, in many cases, has been permanently lost.

This constant change in the needs and uses associated with buildings explains another of the characteristics of modern Architecture. This constant rethinking of concepts has developed different and numerous architectural styles with the desire to provide an answer to this question; In the century, neoclassical orthodoxy was abandoned in favor of a stylistic eclecticism of a historicist nature, giving rise to neo-Gothic, neo-Romanesque, neo-Mudejar... Only with the arrival of the century did truly original styles emerge, such as Arts and Crafts, Art Nouveau "Modernism (art)"), Modernism "Modernism (art)"), Bauhaus, International Style, Post-Modernism, etc.

Contenido

La filosofía de la arquitectura es una rama de la filosofía del arte, que se ocupa del valor estético de la arquitectura, su semántica y las relaciones con el desarrollo de la cultura. Muchos filósofos y teóricos, desde Platón hasta Michel Foucault, Gilles Deleuze, Robert Venturi y Ludwig Wittgenstein se han preocupado por la naturaleza de la arquitectura y si la arquitectura se distingue o no de la construcción.

Historical treaties

The oldest surviving written work on the subject of architecture is De architectura by the Roman architect Vitruvius at the beginning of the century AD. C.[12]​ According to Vitruvius, a good building must satisfy the three principles of firmitas, utilitas, venustas,[13]​[14]​ commonly known by the original translation: firmness, comfort and delight. An equivalent in Spanish would be:.

• - Durability: a building must stand firm and remain in good condition.

• - Utility: it must be suitable for the purposes for which it is used.

• - Beauty: it must be aesthetically pleasing.

According to Vitruvius, the architect must strive to fulfill each of these three attributes to the best of his ability. Leon Battista Alberti, who elaborates on Vitruvius' ideas in his treatise De re aedificatoria, saw beauty primarily as a matter of proportion, although ornament also played a role. For Alberti, the rules of proportion were those that governed the idealized human figure, the golden mean. The most important aspect of beauty was therefore an inherent part of an object, rather than something superficially applied, and was based on universal and recognizable truths. The notion of style in the arts was not developed until the 19th century, with the writings of Giorgio Vasari.[15] By the 19th century, his Lives of the most excellent painters, sculptors and architects had been translated into Italian, French, Spanish and English.

In the 19th century, the Italian Mannerist architect, painter and theorist Sebastiano Serlio wrote Tutte L'Opere D'Architettura et Prospetiva (Complete Works on Architecture and Perspective). This treatise exerted an immense influence throughout Europe, being the first manual that emphasized the practical rather than the theoretical aspects of architecture, and was the first to catalog the five orders.[16]​.

At the turn of the century, Augustus Welby Northmore Pugin wrote Contrasts (1836) which, as the title suggested, contrasted the modern industrial world, which he despised, with an idealized image of the neomedieval world. Gothic architecture, Pugin believed, was the only "true form of Christian architecture."[17] In parallel, Gottfried Semper (1803–1879) developed a theory that shifted the debate toward the material, technical, and cultural origins of the architectural form. In his work he proposed the distinction between Kernform (nuclear or structural form) and Kunstform (artistic or symbolic form), establishing a conceptual separation between the supporting structure and its covering, between the constructive core and its formal expression, understanding architecture as a synthesis between technique, matter and significance. The English art critic of the 20th century, John Ruskin, in his Seven Lamps of Architecture, published in 1849, was much more limited in his vision of what constituted architecture. architecture. Architecture was the "art which so arranges and adorns the buildings erected by men... that the sight of them" contributes "to their mental health, power, and pleasure."[18] For Ruskin, aesthetics were of primary importance. His work goes on to assert that a building is not truly a work of architecture unless it is "adorned" in some way. For Ruskin, a well-constructed, well-proportioned and functional building needed at least rope courses or rustification.[18]​.

About the difference between the ideals of architecture and mere construction, the renowned architect of the century Le Corbusier wrote: You use stone, wood and concrete, and with these materials you build houses and palaces: that is construction. Ingenuity is at play. But suddenly you touch my heart, you do me good. I am happy and say: This is beautiful. That is Architecture.[19] Le Corbusier's contemporary, Ludwig Mies van der Rohe, said: Architecture begins when you carefully put two bricks together. There it begins.[20]​.

Modern concepts

The notable 19th century skyscraper architect, Louis Sullivan, promoted a primary precept of architectural design: "Form follows function." While the notion that structural and aesthetic considerations should be completely subject to functionality was met with both popularity and skepticism, it had the effect of introducing the concept of "function" in place of Vitruvius' "utility." "Function" came to be considered to encompass all the criteria of use, perception and enjoyment of a building, not only practical, but also aesthetic, psychological and cultural.

Nunzia Rondanini") stated: Through its aesthetic dimension, architecture goes beyond the functional aspects it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development... Restricting the meaning of (architectural) formalism to art for art's sake is not only reactionary; it can also be a purposeless search for perfection or originality that degrades the form. in a mere instrumentality.[21]​.

Among the philosophies that have influenced modern architects and their approach to building design are Rationalism, empiricism, structuralism, poststructuralism, deconstruction and phenomenology.

At the end of the century, a new concept was added to those included in the compass of both structure and function, the consideration of sustainability and, therefore, sustainable architecture. To meet the contemporary ethos, a building must be constructed in a way that is environmentally friendly in terms of the production of its materials, its impact on the natural and built environment of its surrounding area, and the demands it makes on unsustainable energy sources. for heating, cooling, water and waste management and lighting.

Traditionally, architecture has been considered one of the seven Fine Arts. Certain buildings or other constructions are works of art since they can be considered primarily based on their form or sensible structure or their aesthetics.

From this point of view, although the means of architecture may consist of walls, "Column (architecture)" columns, slabs, ceilings and other construction elements, its purpose is to create meaningful spaces where human beings can develop all types of activities. It is in this "making sense" that architecture (as art) can be distinguished from mere construction. This is how it is capable of conditioning man's behavior in space, both physically and emotionally.

Although nowadays it is usually considered that the main activity of architecture is directed at the design of spaces for shelter and habitation (dwellings), it was only from the 19th century onwards that architects began to concern themselves with the problem of accommodation, habitability "Habitability (architecture)") and the hygiene of dwellings, and to expand their scope of action beyond monuments and representative buildings.

The evolution of specialization and separation of work areas is similar to that of other professions. In past centuries, architects were not only concerned with designing buildings but also with matters that today concern other diverse professions. They designed squares, avenues and parks, a specialization that today is known as exterior design or landscaping.

The specialization of architects in the creation of objects used in buildings, such as furniture, has resulted in the birth of the industrial design profession. Today, the professionals who project and plan the development of urban systems are urban planners. This last profession has separate studies in some countries, while in others its responsibilities are carried out by architects and civil engineers, jointly or independently.

Today, practicing the profession requires a type of professional capable of working in interdisciplinary teams, technically and socially mastering digital technologies, and combining different skills related to design, research, and project management. For the training of this type of professionals to be successful, architecture schools must review their educational models and develop teaching-learning methods that can go beyond established academic programs.[22]​.

• - Portal:Architecture. Content related to Architecture.

• - Visual semiotics in architecture.

• - Mathematics and architecture.

• - Annex:Architectural styles.

• - Díaz-Pines Mateo, Fernando. "Exile of Theory. The malaise in architectural culture and the foreignness of theory" rita_ Indexed Magazine of Academic Texts, 5, pp. 124-129. DOI 10.24192/2386-7027(2016)(v5)(08).

• - AA.VV., Enciclopedia dell'Architettura, Milano., Garzanti, 1996. ISBN 88-11-50465-1.

• - Sergio Bollati and Giuseppe Lonetti, L'organismo architettonico, Firenze, Alinea, 1990.

• - Giorgio Cricco and Francesco Di Teodoro, Itinerario nell'arte, Bologna, Zanichelli, 2003. ISBN 88-08-21740-X.

• - W. Müller e G. Vogel, Atlante di architettura, Milano, Hoepli, 1992. ISBN 88-203-1977-2.

• - Pevsner, Fleming e Honour, Dizionario di architettura, Torino, Utet, 1978 ISBN 88-06-51961-1; ristampato come Dizionario dei termini artistici, Utet Tea, 1994.

• - Ludovico Quaroni, La costruzione del progetto architettonico, Roma-Bari, Laterza, 1996.

• - Riccardo Salvi, Inside the building. Brief considerations sull'architettura d'interni, Milano, Franco Angeli, ISBN 978-88-917-4431-9.

• - Bernard Tschumi and M. Berman, Index. Archivio dell'architettura contemporanea, Milano, postmedia books, 2004. ISBN 88-7490-017-1.

• - Azofra Agustín, E. Between the Vitrubian concinnitas and the commitment to modernity at the beginning of the architecture of the Enlightenment in Spain. The interventions and reports of the architect Juan de Sagarbinaga in five Hispanic cathedrals and a collegiate church. In: Illescas, Laura...[et. to the.]. Cathedrals of the Ibero-American World. Vol.I.pp.179-212. Andavira, 2022. ISBN. 978-84-124831-7-8.

• - Wikisource contains original works of or about Architecture. (by Benito Bails).

• - Wiktionary has definitions and other information about architecture.

• - The Dictionary of the Royal Spanish Academy has a definition for architecture.