Six concepts about the architecture of the new millennium. Marcelo Fraile Narvaez. In 1984, the Italian writer Ítalo Calvino, was invited by Harvard University, to give a cycle of six lectures that would take place during the academic year 1985/1986. After some problems to choose the subject, Calvino finally inclined to try "... 'some' literary values that should be preserved in the next millennium" [1]. He titled his Lectures "Six proposals for the next millennium", even though the lectures never developed, because Calvino died on September 19, 1985. Only five and some drafts of the six conferences were developed. These were post humously published sometime after. The title and some of his thoughts about this article were inspired by the last work of this great Italian master. One question and six concepts What is contemporary architecture? Although it seems to be a simple question, we will soon discover with some discouragement how ambitious and complicated it can be to find an appropriate answer to this question. According to the Cambridge Dictionary, the contemporary word is defined as to " living at, happening at or belonging to the same period "[2]. In the specific field of design, contemporary architecture implies a chronological question. In its essence refers to architecture product of its time, and which defines its own topicality. Conceptually, contemporary architecture rejects those historical styles of the past, replacing them with an innovative and different proposal from what existed so far. For the architects Beatriz Villanueva Cajide and Francisco Javier Casas Cobo, contemporary architecture, "... historiographically, does not exist, except in the absolute present, understanding as such the moment lived and, maybe, ten or twenty years ago, until the moment when the historiography frames it like history and ceases to be contemporary "[3]. In the contemporary, we rethink architecture as "... to check that aspects have lost validity, which have been renewed and what [new] concepts ... have appeared" [4]. It is in this sense that the idea of contemporary architecture acquires greater relevance: as a motor of change, it establishes new theoretical positions between man and his architectural production. In the beginning of this new century, we find ourselves living a particularly sensitive historical moment. For Josep María Montaner, we are able to "... have a certain perspective to interpret the evolution of architecture ... and detect the most remarkable characteristics of the recent turn of the century" [5]. We are in the presence of a new way of understanding the architectural project, under a technological-digital perspective, where process and generation are tinged with a search for optimization and efficiency. Numerous sources produce and reproduce an unprecedented architecture, developed in an area of some formal forcefulness, where mathematical algorithms, digital biological systems and advanced structural systems try to detach from their heavy historical-eclecticist load. In an attempt to answer the initial question, this article proposes the study of six key concepts, six elements that help us understand and define precisely the characteristics of this new architecture. 1. Globalization Together but far apart. For the British historian Eric Hobsbawm, the "short" [6] twentieth century, ended on the night of Thursday 9 to Friday 10 November, 1989, with the fall of the Berlin Wall and the end of a divided Germany. This was a transcendental point in history that marked the collapse of the Soviet Union. It was the outcome of the Cold War after years of silent battles: capitalism had defeated communism. A heavy iron curtain rose, and the world once again seemed to be just one: at last Muscovites could taste a McDonald's hamburger sitting near The Pushkin Square in Moscow. However, the initial optimism was soon affected by a new and terrible war: the Gulf War. Between 1990 and 1991, a coalition of forces composed of 34 countries, under the command of the United States, declared war on Iraq in response to the invasion of Kuwait. A terrible fight that mixed ideals of freedom with an economic-oil background that muddied everything. The Gulf War was a new kind of contest that marked a milestone in the history of armed conflicts. For the first time, a war was televised live: sitting in the comfort of their home, the viewer could see by CNN 24 hours, the troops of the liberating coalition fighting and dying in the hot and desert lands of Kuwait. Gary Shepard, a reporter for the American ABC news network, broadcast live from the Rashid hotel in Baghdad, while the explosions, the shootings of the anti-aircraft batteries and the Bombers could be heard in the background. Sadly, the Gulf War was only the beginning of this new century, on September 11, 2001, flights 11 of American Airlines and 175 of United Airlines crashed into the World Trade Center's twin towers, marking a new tipping point, a before and after in the history of the contemporary world. Its influence, can still be felt today, at every airport on the planet: each passenger is subjected to a whole series of rigorous scans and controls. For an instant one loses all his constitutional rights to become a suspect, is stripped of his shoes, belts, coats and electronic elements, all for the general safety. One is guilty until proven innocent. But not everything has been chaos and war in this new 21st century. With the arrival of the internet and important advances in the field of micro and nanotechnology, a new way of conceiving the universe has been created: Our world has become smaller and seems to be spinning faster. Alvin Toffler defined it as "Shock of the future", "a disastrous tension and disorientation that provokes in the individuals (the excessive changes) in a short lapse of time." [7]. The use of new digital technologies has transformed the contemporary society’s way of life. A deep cultural impact, with a renewal process, which tries to replace the previous model, now obsolete, by one inspired in digital, technological methods. It’s a complex model by nature, which present in its essence a contradiction, an inevitable consequence in its situation. Zygmunt Bauman a Polish philosopher and essayist, very concerned about the changes that are taking place in humanity, catalogs in his book, "Liquid Modernity" contemporary society with the physical phenomenon of fluidity "... a dissolution of old concepts, where ancient Theories have been and are being refuted, giving way to new ones, much more complex and relative "[8]. Product of a technological environment, contemporary society is immersed and lives in front of the screens, looking the other way. It’s a technology capable of slowing or accelerating time, where five minutes are transformed into an eternity, while we await the response of a WhatsApp that already has its two blue ticks. Thanks to technology, we are available 24 hours a day, 365 days a year, no matter if we are in the desert, on a nudist beach or in hell, something we can’t miss is a smartphone with its battery sufficiently charged and good 4G connection. It’s a technology that allows a meticulous record of reality, allowing us to photograph and film absolutely everything. The 21st century will go down in history as one of the best documented centuries. We have become chroniclers of our lives: our 15 minutes of Warhol [9], requires us to share birthdays, vacations, surgeries and meals online. Nothing is ruled out. The difference between public or private in our life is determined by a box sometimes configured by default. For some with a positivist vision of reality, this technology allows us to open new windows to new realities, windows that communicate and relate to the rest of the world; for others, it is a reinterpretation of the Pied Piper of Hamelin, who hidden among the shadows of zeros and ones, hypnotizes the masses, isolating us from each other. In the 1993 science fiction film, Demolition Man [10], Lieutenant Lenina Huxley, (played by actress Sandra Bullock), invites John Spartan (a a policeman of the XX century, recently thawed, played by the actor Sylvester Stallone), to her apartment to have intimacy. However, the initial excitement of Spartan is quickly frustrated when the young lieutenant extracts from a box two "cyber helmets", which will be responsible for consummating the act, of course, in a virtual way, that is, without having any type of physical contact. Far from being transformed into a cult film, Demolition Man, presents an almost cartoon vision of the future 2032, where its inhabitants have suffered a process of infantilization, lacking all evil. However, this cinematic look would have its nuances of reality, when Billie Whitehouse, with Ben Moir and Havas Worldwide, developed Fundawear: a new conception in the design of high-tech underwear. Fundawear is the first underwear with portable technology. A fine garment developed with high quality bamboo fabric, which hides in its inside a series of sensors that allow you to feel the physical contact, when transferring in a wireless way, the caresses of a person, no matter where in the world you are: for this you only need to have an application installed on your smartphone. With every touch on the phone, it is transmitted to the sensors of Fundawear, a signal that is physically reproduced in the skin of the one who possesses it, giving the owner a sensation similar to a caress. We are in the presence of a virtualization of the human being, where the physical body is transformed into zeros and ones, and whose personality communicates and lives in the cyberspace. Sometimes both identities converge in some points in common: real worlds, watched and monitored through cameras, safe worlds, protected under strict satellite networks. It’s a contemporary world where the barriers between both universes sometimes seem to blur continually. Similar way, in the specific field of architecture, "New technologies challenge gravity, loss of energy and the economy of resources" [11]. We are living a complex stage, one of apparent globalization, a process that unifies forms and scales. A kind of process that is presented to us with "... bits of an information flow that run through circuits in the form of electronic impulses ... bits without weight" [12]. One example in this sense is the Russian pavilion of the 13th Venice Architecture Biennial of 2012, a design by architects SPEECH Tchoban & Kuznetsov. It was a project aimed at the development and promotion of science through an innovative approach: three rooms completely covered from floor to ceiling with retro-illuminated plastic tiles where QR codes were displayed. The public that visited the sample, had to have smartphone or tablets equipped with a QR code reader software, in order to decode the message. A virtualization of architecture, where digital devices were required to be able to discover it, in order to understand it: "The boundaries between the virtual and the real are no longer distinguished, it is" ... an attempt to find an architectural metaphor that illustrates a current topic: cyberspace "[13]. The new designers, who are looking for that change, carry with them the germ of the revolution, with "... their specific-artistic language and with their technical-scientific knowledge that symbolizes this complexity" [14]. The humanists of the 21st century are experts in multiple topics, from mathematics, botany to fashion [15]: are transformed into rock starts, they embody world fame, receive nobility titles, are photographed in front of presidents and even have their own fan club. Analogously, the main capitals of the world dispute their buildings, as if they were works of art. Trend creators, obsessed with form and control, teach people how to inhabit them and how to live them: flexible, limited spaces, where the common individual is transformed into a pixel seen through a security camera. Koolhaas ' non-places have been transformed into the "pixel places": monitored, controlled, inspected places. A representation in images of the city through multiple screens: "On each landing, in front of the elevator door, the poster of the huge face looked from the wall. It was one of those drawings made in such a way that the eyes follow you wherever you are. 'THE GREAT BROTHER WATCHES YOU', said the words at the foot (...) "[16]. 2. The representation. The new digital pencil For better or worse, the teaching of architecture in some educational institutions, is still associated with the image of Le Corbusier standing in front of his drawing board: in his hand a pencil looks, as if it were a magical object. A pencil from which flows the force of genius that every architect must possess. With each line, the universe is paralyzed to contemplate the traces that flow magically from his hand: a new work of art has been born in the world. Under this sympathetic and unconscious look, the architect's ingenuity is linked with his ability to draw "by free hand". Their Power lies in it, the more precise their sketches, the better professional it seems. However, despite this nostalgic look, since the 1980s, we have entered into a vertiginous process of digitization of architecture: new technological tools have developed a new way of representing reality. Theoretical schemas of a complex existence, "... that is elaborated to facilitate its understanding and the study of its behavior" [17]. The use of digital systems as a "means of representation" has undoubtedly been the first contribution and the one that has produced the most direct influence on the project processes. An architecture of millimeter precision, where the formal complexity presented can only be conceived through digital media: "Mathematical calculus is reconciled with a renewed aesthetics of the world and architecture" [18]. These are complex volumes, with non-Cartesian characteristics, "layers and surfaces", which Helio Piñon calls the Guggenheim effect [19], recovering what Rafael Moneo called the "forgotten geometries" and that now, thanks to digital technology, can be manipulated [20]. A new “digital” world emerges, with important transformations in our daily and work habits: haptic gloves, helmets with virtual reality viewers, augmented reality systems, which allow designers to discover a different world, a georeferenced world, which overlaps the real, and multiplies it, powers it and resignifys it. With the advent of parametric systems at the beginning of the year 2000, a renewed architecture made its appearance in the design world: a project tool, where "the forms stopped being drawn or represented to be calculated" [21]. The parametric design makes it possible to use complex programming that is sufficiently wide to allow "...the decoding, manipulation and eventual reprogramming of information codes" [22]. The initial models can be transformed by modifying the values of their primitive variables, without the need to replace or redefine their geometry: different solutions for dependent variables. A new generation of systems capable of simulating, evaluating and analyzing automatically, in real time and while designing, installations, structures, and environmental conditions of each project: according to pre-established parameters, it is possible to obtain infinite variations of the model, which are selected according to comparative terms numerically adjusted by the designer. The use of mathematical algorithms, facilitates analysis, extracts particularities, finds relationships, manifests rules. In addition, it adjusts the space within a new vision of the world, which does not seek to obtain only complex forms, but also efficiency. It’s a technology that can predict the amount of lighting, through a specific window, on a specific date. No matter the scale or complexity of the project, everything can be modeled, processed and analyzed. The parametric design allows the integration between design, theory and technology with the aim of achieving the most effective solution to the problem posed: a productive interrelation between parametric design and constructive materialization [23]. A true revolution in the way of designing and representing architecture. A look through a digital window, to live and feel an architecture to come. 3. Materiality. Prefabrication on demand "A great time has just begun. There is a new spirit. The industry, overflowing like the river that runs towards its destination, brings us new tools, adapted to these new eras animated by a new spirit "[24]. With the publication in Paris in 1923 "Towards an architecture" [25], Le Corbusier, established a strong industrial regulation that regulated the design in its different scales. A standardizedmechanistic model, with a prefabricated production system; a production of objects without variations, rigorously identical according to a strict Euclidean geometry. As if it were a dream, the architects had to design perfect living, efficient and functional machines. Later, the industry would be responsible for producing its parts that would later be assembled in the final model. However, despite advances in robotics and automation of the industry, in the field of construction, advances were restricted to the construction of modular elements that required operators and machines to be installed on site. As incredible as it seemed, in essence, the construction at the end of the 90s continued to maintain a constructive system based on the work of man. However, with the advent of the new millennium, fresh signals were visible on the horizon: a paradigm shift, under a techno-digital root, finally abandoned the "mechanistic" scheme [26] inherited from the Modern Movement, of "productive seriation" of the mechanized industry of Sigfried Giedion [for] recovers the ambition to personalize production "[27]. Offering innovative solutions to the scientific crisis posed, providing a renewed vision of the world and promising alternative challenges on which scientists can work in the future. New materialization systems, flexible and efficient make their appearance in the construction market: CAD-CAM or 3D printer systems, it does not matter if you build an object or a thousand, the cost will be the same, the quantity of products is no longer a limitation when it comes to manufacture. A robotic architecture, the result of the combination of a virtual world and a physical one, something that for Gramazio and Kohler could be defined as a "digital materiality", that have made the contemporary designer again in craftsmen: where digital prefabrication processes enable designers to materialize their own ideas, eliminating intermediaries. In a very short time, nothing will prevent a studio located in Buenos Aires from being able to connect with its subsidiary in Japan, to develop an online project as a whole. Taking advantage of the time difference, both studies could work on the design in a continuous way saving time and money in its execution. Once the technical documentation has been completed, it could be sent to a company in Russia which would be in charge of the materialization of its parts. After the manufacturing, these could travel to Sydney where they would be mounted on site by bricklayers robots. It is not science fiction, it’s the future, it’s the immediate future. Perhaps one of the most interesting works in this regard is that of the Gantenbein winery in Fläsch, a Swiss City, a 2006 project by the Swiss architects Fabio Gramazio and Matthias Kohler. The initial design was developed from a structural skeleton of reinforced concrete, closed with a perforated masonry wall that would act as a temperature and lighting filter: a series of prefabricated brick panels, designed from a genetic algorithm, whose variables had have been previously defined according to the parameters of light and sunlight. For its construction, the walls were manufactured in the research area of the ETH in Zurich, through KUKA, an industrial robot arm that placed each of the bricks according to the genetic algorithms. Subsequently, the panels were transported to the site to be installed by cranes: 20,000 bricks located at an angle and millimeter separation, transforming each panel into a single one. Two years later, Gramazio, Kohler and Raffaello D'Andrea, joined the ETH Zurich, to make the first architectural installation designed from a series of parametric algorithms and built using robots, with the ability to fly. These systems, called ROB [28], were used to build a loop wall 3.5 m wide by 6 m high, using 1,500 bricks made of polystyrene foam. Industrial flying robots, articulated mechanical arms with six-axis mobility, high performance 3D printing systems, are allowing the materialization of new shapes, variable surfaces, topological and structurally optimized. A wide range of mechanical-digital tools, with manometric accuracies prepared for milling, cutting and adding: a step towards automation and full robotization of architectural production. In any case, the future seems promising: the company D-Shape [29], founded by Enrico Dini, is developing a large-scale 3D printer, which uses as a raw material a product similar to concrete, based on a mixture of sandstone and chlorine. The printer has cranes and elements to move through the site, "printing" the walls with repetitive tasks, according to a previously loaded design. The printing is made in layers, always in even number: the first, of sand with the liquid binder and the second, of dry sand. Although the printer still requires human attention, it is expected that in the near future the technology will improve considerably, obtaining an absolutely autonomous, functional and reliable tool. Also, one of the most ambitious projects of the last five years, is the study of the architects Foster + Partners, who have joined with the European Space Agency (ESA), in order to build a permanent base for four people in the south pole of the Moon [30]. The project consists of a structure of protection resolved with modular tubes, as a skeleton, linked by means of an inflatable dome, which will be deployed on them. Below, a solid structure, in the form of a dome, will be built by means of a 3D printer with robotic arms: with each pass, the machine will "print the walls", by means of a light foam formed mainly with lunar soil or "Regolith", a system that besides being practical, will generate savings of between 30% and 50% in costs. For Foster + Partners, the structure is planned to be erected in a matter of hours, in order to protect and shelter its inhabitants from the drastic and changing temperatures, micrometeorites and gamma radiation on the lunar surface. Thomas L. Friedman, journalist and author of the book "The world is flat" [31] assures that "... the strength of this age is based on the ability of individuals to take control of their lives" [32]. After an excessive industrialization of all fields of knowledge, the concept of the single object, manufactured or repaired by oneself, seems a tempting offer. There is a rejection of the idea of having to buy depersonalized, identical artifacts. Under this new philosophy, inventors and creators experiment with new forms, using free hardware tools, to create prototypes and small artifacts. A new paradigm that impels us to do new things, manufacturing objects whose materialization is made through the use of digitally controlled equipment. "Made by oneself": custom objects, with an extra value, that of the exclusive object. 4. The Shape. Difficult and complex “… more and more, more is more” [33]. It is impossible to avoid the strong predilection that Western architecture has for the use of Euclidean geometry: an architecture that "... It takes its canonical form [of] the Greek culture" [34] and it would seem that, in its metric, in its measures, in its equilibrium it find the security that so much needs. From the constructivism from the 10’s and 20’s, through the Bauhaus courses and the harmonicproportional studies of Le Corbusier, to the recent works of the Shinichi Ogawa & Associates studio, in the city of Kanagawa, Japan, "... the figure cubic, perfect, abstract, monochrome and omnipresent"[35], represented and represents the embodiment of the ideals of modernity, and it’s used as raw material in architecture. For the German architect, Ludwig Mies van der Rohe, in the mid-twentieth century, architecture could be defined with his famous phrase "Less is more": an architecture that sought linguistic simplicity, in its structural elements, in its pure geometric forms, and in a total absence of ornamental elements. However, a short time later, during the 70’s decade, the American architect Robert Charles Venturi, expressed his reaction against this type of architecture: his well-known phrase "Less is a bore", is an attempt to overcome "... the limited vocabulary of orthodox modern architecture "[36]. For Venturi, the modern movement, and its extreme puritanism, had been the cause of an empty architecture of content that had finally been transformed into insipid and boring. With Venturi, soon echoed other criticisms against the monotony of the modern movement. Unfortunately, they were also the cause of an "... epidemic of postmodernist towers ... neither more varied nor more interesting than those of the Modern Movement" [37]. At the end of the 80’s decade and according to the changes in technology, a new tool became popular among designers around the world: computer-aided design CAD [38], a graphic system used as a geometric "means of representation" of the Space. According to changes in hardware technology, a new generation of programs, increasingly powerful and accessible, allowed the emergence of systems capable of handling a greater number of calculation variables, build simulations, modify them, analyze them and, finally, optimize them. for its definitive construction. Finally, at the beginning of the new millennium, once " surpasses [do] the scenographic character of Postmodernism" [39], a new method of thinking, with a technological-digital origin, makes its irruption challenging the traditional conceptions of the project. An avant-garde architecture, which deviates from the Euclidean geometry, from the Cartesian space, to try to experiment with a topological geometry, of curved surfaces, that uses NURBS (Non-Uniform Rational B-Splines), under a flagrant distancing from the discrete volumes [40] Under rigorous control, the architecture of the new century is materialized through complex geometric forms that remain unchanged through continuous transformations and deformations. Innovative forms, difficult to understand, forms linked to movement, to the apparent randomness, to controlled chaos, to an expression of its variables of origin. An architecture that finds its inspiration in physics, in mathematics, or in biology: animated forms, in constant mutation, subject to the forces and interactions of the environment, that "participate in the dynamic flows", directing the movement, allowing them to self-regulate For the Dutch architect, Rem Koolhaas, it is an architecture where the "... accumulation and accession have replaced other forms of organization, such as hierarchy and composition" [41]. One of these examples can be found in Jellyfish house, designed by the Iwamotto-Scott studio in 2005. The project was conceived trying to resemble a marine creature, which is linked and tries to respond to the environment, adapting to the conditions that surrounds it. Located on a land reclaimed from the sea, more precisely on the Island of Treasure, an artificial island built outside the natural island of Yerba Buena, in the middle of the Bay of San Francisco, the house is designed from a mathematical structure, a mutable skin, elaborated on the basis of a parametric mesh, which uses an efficient geometrical logic of Delauney triangulation and Voronoi diagrams for its generation. A mathematical design, where the openings are located within a three-dimensional topological grid. What is a beam and what is a column? The new shape is a complex composition of structurally deformed parts, visually and mechanically to adapt to the design. Four years later, the Iwamoto-Scott study, used this type of systems, for the Edgar Street Towers project [42], in order to evaluate the behavior of the materials according to the superficial conformations that the structure acquired with different geometries. . And, when it moved away from the most appropriate forms, the system was designed to be reconfigured in order to adapt to the new tensions of the modified surface, looking for structural forces to find the path of least resistance to the earth along any surface [43]. Topological geometries, which seek to represent complex surfaces mathematically. A mutable architecture, an undulating sheet, a fold, subjected to the processes of deformation and transformation of space and time. This is the case of the Kunsthaus Museum in Graz. Located on the banks of the River Mur, in the historic center of the Austrian city of Graz. The "Friendly Aliens" [44], opened its doors during 2003, to commemorate the election of this city as European Capital of Culture. Work of the group Spacelab directed by Sir Peter Cook and Colin Fournier, was the winning project of a contest organized in the year 2000. The building, conceived as a space dedicated to temporary exhibitions of contemporary art, is a blue elongated bubble, implanted within a very homogeneous and traditional urban context. A kind of living organism with strange eyes, a trace of animal form, which contains several levels in its interior and communicates with an existing building. Inside, an exhibition hall is illuminated thanks to 16 skylights that, like eyes, are located in the amorphous volume. These skylights point to different points of view, allowing not only to bring light and fresh air to the interior of the building, but also to frame the surrounding landscape. Its façade, the BIX Facade [45], conceived by the group of German architects Realities: united, is made up of more than 1000 panels, made of vacuum and three-dimensional laminates, from which the cylindrical protuberances that make up the skylights emerge. The panels are composed of a polyethylene terephthalate film with the incorporation of anisotropic carbon yarns in order to give greater tensile strength along the tension lines, and structural panels of Kevlar-Nomex fiber for the resistance to the compression. These features allow multiple formal, structural variations (stiffness, opacity, flexibility or transparency), and cover the width of the roof without intermediate structural supports. Inside, there are audiovisual systems, loudspeakers, lighting elements and a series of laminated tubes through which the different necessary channelings circulate. A sensitive skin, which incorporates within its thickness, 930 fluorescent lamps 40 w, circular shape with a diameter of 40 cm, and sensors, like pixels, are connected to a computer system transforming the skin of the building as a large screen urban, a screen 20 meters high by almost 40 meters wide, which allows you to reproduce images and texts in motion. From this line of thought, one of the most ambitious projects of recent times, is the proposal of 2012, for the Cathedral of Our Lady of Los Angeles, Xiaofeng Mei and Xiao Gao. Far from the angles of 90 degrees, the building is inspired by biological forms, skeletons, spines and fish scales: a complex geometric shape, to reinterpret the concept of spirituality. A complex but welcoming environment that allows believers to reflect and meditate. In the new millennium, the box has been fragmented, in its replacement a new architecture has arisen, of complex conformations, metaphoric eccentricities, geometric manipulations, NURBS surfaces, a four-dimensional architecture. A new architecture that manifests itself through the generation of a new type of space, never before imagined by man. 5. The ecology. When everything is green In the contemporary world where more than a half of the population lives in urban spaces, the problems of the environment and the search for sustainable development, constitute a subject of constant validity in the official agendas. The growing concern for the environment has increased the need to transform production and consumption systems, seeking to optimize resources so that they tend to be more effective and less polluting. New strategies aim at the conservation of energy and water, the recycle of structures, and the use of "friendly" materials with maximum energy savings and a low impact on the environment: the color green is the politically correct color of the 21st century. In the specific field of architecture, some decisions are still limited, restricting themselves to small actions of dubious long-term impact. They are the false converts, which, emblazoned of green, promote their projects as eco-sustainable, but in the background they continue to develop large volumes of reinforced concrete, now with gardens on their balconies and terraces: green buildings alone in the titles, that hide the old corpses of "high tech Parisian" eras to the new generations. But not everything is lost in this battle for the future of the planet: under the efficient management of energy and natural resources, some contemporary architects are experimenting on innovative concepts in the design process. In search of a new type of architecture that is not harmful to the environment, they experience an eco-sustainable, flexible and ecological architecture. One of the representative examples in this line of thought are the Al Bahr towers in Abu Dhabi, designed by the Aedas studio, who have demonstrated how technology can be understood as part of the design process and not simply as a tool for their design representation. A new mode of projection where matter has become binary information, defined through a three-dimensional model. Since its conception, the designers developed a contextual and culturally sensitive design without losing all the new possibilities that technology provided them, having as a reference to nature to reach the highest standards of energy efficiency. Under a simple geometry, the Aedas study used a series of parametric algorithms, in order to investigate what was the optimal relationship between the radius of the building and the outer surface of the envelope, seeking to minimize the surface exposed to solar radiation. To do this, they developed a partial screen covering externally, the faces directly exposed to the incidence of the rays of the sun. Inspired by a traditional Islamic element, the mashrabiva [46], they developed a high-tech artificial skin, which serves to diffuse sunlight, along its 25 floors. A mobile artificial protection that prevents overheating and radiance on the facade of the building: a screen developed from a network of repetitive triangular geometric patterns, forming a dynamic complex three-dimensional grid. Inside, a computer controls the shape of these triangles according to the movements of the sun, opening or closing according to the incidence of light on them. The screen allows the building to remain cool by reducing brightness, without detriment to natural lighting. A direct analogy to the behavior of native plants: the screen is transformed into a permeable membrane that establishes a symbiotic relationship between the inside and the outside, reducing by 50% the use of environmental conditioning systems. At night, the screen is folded and saved, and the systems go into hibernation until the next day. On the south-facing deck, a series of photovoltaic cells are responsible for producing renewable electrical energy, which, among other things, feeds the functioning mechanisms of the membranes. Another Interesting project is the Hydra-Tesla Research Center, better known as Hydra Skyscraper. it’s a project of the multidisciplinary study of the Serbian architects, Milos Vlastic, Vuk Djordjevic, Ana Lazovic and Milica Stankovic, who obtained an honorable mention, in the international competition EVOLO of 2011. Inspired by the hydra [47], the architects designed a skyscraper which its structure is developed from a grapheme [48], the basic structural element of carbon allotropes. The graphene has a great thermal and electrical conductivity, and a hardness 200 times higher than steel. The building is like a gigantic Faraday box, with tentacles on its upper part, which, during an electric storm, captures the rays and leads the energy to the base of the building, where it is stored in mega-batteries. Finally, energy is useful to produce hydrogen through a process called "electrolysis of water", which divides the water molecule into O2 and H, using the latter as a source of renewable and clean energy necessary for its operation [49]. In this context, it would be absurd to pretend that "design will save the world"; on the contrary, what is intended upon it is to produce an adequate design of the elements that make up our environment, in order to improve our quality of life, without this generating a harmful impact on the environment. A change of mentality is imperative, where the design in the architecture does not conform to the search for energy savings, the recycling of waste, or the reduction of pollution; new, more ambitious projects are required, seeking to integrate with the environment, responding to social interests, and acceptable economic values, as mechanisms improve the quality of citizen’s lifestyle. 6. The senses. Seduce and / or impact For the Finnish architect Juahni Pallasmaa, phenomenology is presented as a "pure look or see the essence of things, away from intellectual explanations or conventional definitions." To do this, it is imperative to "apprehend" architecture, "... open a view towards a second reality of perception, dreams, forgetting memories and imagination." [50] Human intervention on nature transforms it from actions linked to emotive, with sublimation. In recent years, architects such as Steven Holl, Peter Zumthor and Daniel Libeskind have developed an approach towards a type of architecture focused on the experimentation of their phenomena. Understood as an integral part of life, they describe its essence as the presence and meaning of a concrete experience. A sense of space and time, a "… way to experience architecture walking through it, touching it, listening to it" [51], revealing it in its true background. Phenomenology is the science of experiences. For that reason "... it is not about describing some houses, pointing out the picturesque aspects and analyzing what constitutes their comfort" [52] On the contrary "... the physical phenomena of architecture, the generating force lies in the intentions behind it"[53]. Therefore, it would be extremely unwise and simplistic to think about expressing the architecture by means of plan and sections. Phenomenology poses in architecture a search, an investigation into the deep, variables and how you are modified and modified by space, where light, color and texture, are conjugated to make intervene and influence the senses of the spectator, trying to discover the emotions that inhabit each place. In this sense, one of the most interesting projects is the art museum designed by James Turel, located in Estancia Colomé, 62 km from the village of Cachi, in the area of the Calchaquíes Valleys, province of Salta. A space of 1700 m2 covered, dedicated exclusively to the works of the American artist James Turrell, Called "the sculptor of light": in its interior are exhibited nine installations of permanent light, drawings, engravings and photographs that cover 50 years of the race of the artist The author proposes a design that expresses itself through a symbolic architecture, where the emotional dimension is essential. The proposal moves away from the merely utilitarian, it is opposed to the typical mechanistic ideas of the first part of the 20th century: its works are a sign, a mark of time, a "... presence of the invisible within the everyday world" [54] . Turrell works with light in a dreamlike way. It uses it as raw material to build spaces, it seeks to produce forms from it. It shows a fascination for luminous phenomena, which relates in a range of colors of great strength that play with perception and affect us physically and emotionally. For him there is a physical, emotional and even spiritual relationship with her. "The power of light does not come from the image it brings. It comes from our original relationship with light "[55]. In his works, there is no image, nor the focal point; his works deal with the perception of space and the phenomena of light. A combination of architecture, light, technology and beauty to produce in the spectator a series of indescribable sensations. A superposition of individual images, a storm of images stored in memory, "... through the senses, especially through sight and the synesthetic experience of touch through sight" [56], where the image becomes a combination of all of them. An architecture where each project is unique, as well as its phenomenological conditions and in which a "magical force [that succumbs] to the charm of a fully developed architectural body" is enclosed "[57]. Similarly, another project representative of this architecture of emotions, is the Jewish Museum of the city of Berlin (Jüdisches Museum Berlin), of 1999, work of the Polish architect, nationalized American, Daniel Libeskind. The initial idea of Libeskind, was to develop an empty space that produced strong sensations when going through its interior: a lack of objects and meanings, denoting "emptiness and absence"; a sensitive journey, charged with a strong experiential experience, with irregular, inclined, perforated volumes, a phenomenon of controlled chaos, where time and space also seemed to fragment. Inside the building, a staircase is developed in a diagonal space that crosses the entire height of the volume. This space is constantly traversed by diagonal beams: a symbol of the continuity of a town, with its history, survival and memory; "... the straight line of emptiness represents what has been lost and can never be recovered" [58]. Following the path through this three-dimensional zigzag, another space with a strong impact on the observer is the Shalechet installation, fallen leaves: an alley with 10,000 iron plates shaped like faces, scattered across the floor, made by the artist Israeli Menashe Kadishman. Visitors, walking through the place, tread on these plates producing a terrifying metallic sound, managing to represent the suffering of the dead by the holocaust: "... an emblem of the invisible, of the empty, of the structural features that have been accumulating in the space of Berlin "[59] and that are manifested in architecture. "An impossible interior space, inaccessible through language, could be described, but words can not replace an authentic physical and sensory experience" [60]. This is an architecture that appeals to the sensory, which considers "... the unpredictable, the random and the complex of phenomena [as] a new way of thinking them" [61], where space is conceived as a great instrument that mixes sounds, amplifies them, and transmits them everywhere. The relationship between the building and its surroundings is "... a disposition of mind, a sensation in perfect concordance with the built space, communicated directly to those who contemplate it, inhabit it and visit it" [62]. An architecture capable of "... quiet and cry" [63]. An architecture that alarms, far from the architecture of marketing, that of shopping centers; an architecture that does not consider function or form as the leitmotiv. Its roots reside in our first experiences: the house, that warm lap that welcomes us and becomes our corner in the world, our first universe. Another interesting example is the Bruder Klaus Chapel, built in 2007, in Mechernich, Germany, by the Swiss architect Peter Zumthor. Of austere exterior, it stands out from the landscape as a rigid prism 12 meters high, lacking any kind of exterior ornamentation, except for a single triangular-shaped metal door: from afar, its shape can be confused with that of a tank waters or that of a deposit of grains. However, its interior is different. A space built in the shape of a tent with a central hole: built from 112 trunks of trees, to form a rustic formwork, on which were poured for 24 days, layers of concrete rammed 50 cm thick. When the concrete was ready, the interior wooden structure was set alight to release an empty space, leaving inside it an irregularly textured walls and blackened by fire. An inside "atmosphere" of smells and textures, "... in a way that goes beyond form and construction" [64]. Its illumination comes from an upper oculus that spills its light inside the small interior space and from tiny points of light located in the side walls of the chapel: rain and sun penetrate into the chapel, creating different experiences according to the time of day and the time of the year. A space created for reflection, under "... a beautiful silence [a building] ... that represents nothing, it just is" [65]. At the beginning of the 21st century a new challenge is presented related to the future. A new architecture, which emphasizes the spatial experiences, the sensations in the constructed objects, the perceptual exchanges between people and things. In this sense, a reinvention of the site is required, "... in which people and nature confront each other under a substantial sense of tension." [66] This is what Japanese architect Tadao Ando calls "... the need to discover the architecture that the site itself seeks "[67], is the critical regionalism of Kenneth Frampton that" adheres to the positive assessment of regional architecture, vernacular and its sensitivity to the conditions of light, wind and temperature " [68] A strategy that aims to rescue subjectivity as an essential condition to conceive and explain projects. Conclusions First In 1979, in the magazine SUMMA humor, the architects Miguel Angel Faure, and Liliana Nidia Carnevale, wrote an ironic article titled "Vademecum rhetorical for architects" [69], where they recounted "... a valuable assistant for the preparation of descriptive memories, criticism and theoretical essays in architecture "[70]. The article presented three columns of words, which at first glance seemed unrelated. The process that animated the article was very simple: one should take a term from each group of words, and add the necessary words to articulate each word and make sense of the sentence. In this way, one could obtain results such as: "the result is a programmed functional design, with compatible morphological premises, a compatible projective message, within a normative existential context". Second In this quick passage through the development of six key concepts, we have tried to answer our initial question: What is contemporary architecture? Six looks, questionable perhaps, ambiguous, controversial. Six ideas that tried to form a map of the situation, a range of new causalities where authors, works and concepts intertwine looking for an answer. In 2014, the Princess of Asturias Foundation, a non-profit private institution, awarded Canadian architect Frank O. Gehry the Prince of Asturias Award for the Arts 2014 [71], one of the most important awards in the field of architecture. When Gehry entered the room destined for his usual meeting with the press, one of the journalists asked him about the criticism he had received for being part of the supposed architecture of the show. To which the architect replied: "Let me tell you one thing: 98% of the buildings that are built today are pure shit. There is no sense of design, no respect for humanity, for nothing. Occasionally there are people who do something special, but they are very few. Holy God, leave us alone! ... do not ask stupid questions "[72]. Subsequently, "Gehry raised the middle finger of his right hand" [73]. At the moment, the current paradigm inherited from the classical sciences has imposed on us a static and determined look that contrasts drastically with the complexity that this new approach of the contemporary world proposes to us. Perhaps now after opening so many doors we are more confused than before. Perhaps the 21st century needs a new way of philosophizing, "... where both the word 'history' and the word 'art' [must be] rethought and resignified" [74]. Perhaps, for the lack of a sufficient historical perspective, we are not ready to answer the initial question, or simply ... in our obstinacy perhaps ... we are just asking stupid questions. Bibliographical citation 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. CALVINO, Ítalo, Seis propuestas para el próximo milenio, Madrid, Siruela, 1990, pág. 9. Cambridge Dictionary, ttps://dictionary.cambridge.org/es/diccionario/ingles-espanol/contemporary (14/03/2019). VILLANUEVA CAJIDE, Beatriz; CASAS COBOS, Francisco Javier, “¿Qué es arquitectura contemporánea?”, en La ciudad viva, Andalucía, Consejería de Fomento y Vivienda de la Junta de Andalucía, 25 de febrero de 2013, en http://www.laciudadviva.org/blogs/?p=16208 (consultado 16/10/2016). MONTANER, Josep María, La condición contemporánea de la arquitectura”, Barcelona, Gustavo Gili, 2015, pág. 7. MONTANER, Josep María, Op. cit, pág. 7. HOBSBAWM, Eric, Historia del Siglo XX, Buenos Aires, Critica, 1998, pág. 13. TOFFLER, Alvin, El shock del futuro, Barcelona, Plaza & Janes, 1970. BAUMAN, Zygmunt, Modernidad Liquida, México, FCE, 2004. En alusión a la cita “en el futuro todos tendrán sus 15 minutos de fama mundial” atribuida al artista plástico Andy Warhol. Demolition Man (1993) es una película de acción y ciencia ficción, producida por el Warner Bros., dirigido por Marco Brambilla y protagonizado por Sylvester Stallone, Wesley Snipes y Sandra Bullock. IBELINGS, Hans, Supermodernismo. Arquitectura en la era de la globalización, Barcelona, GG, 1998. CALVINO, Ítalo, Op. cit., pág. 9. IBELINGS, Hans, Op. cit. ZÁTONYI, Marta, Una estética del arte y el diseño de imagen y sonido, Buenos Aires, Nobuko, 2002. En alusión al libro de Cordura Rau, Why Do Architects Wear Black?, Vienna & New York, Springer Verlag, 2008. ORWELL, George, 1984, México DF, Gerrero editor, 1999. DRAE, op. cit. IBELINGS, Hans, Op. cit. PIÑON, Helio, La Forma y la mirada, Buenos Aires, Ed. Nobuko, 2005. KOLAREVIC, Branco (2003), “Digital Morphogenesis”, en Kolarevic, B. (ed.), Architecture in the Digital Age: Design and Manufacturing, Spon Press, New York y London, págs. 17-45, en www.i-m-a-d-e.org/fabrication/wpcontent/uploads /2010/08/02, consultado el 08/10/16. LYNN, Greg, “Embriological house”, BLOB, 2000, http://archives.docam.ca/en/wp-content/GL/GL3ArchSig.html, consultado el 08/07/13. CASTELLS, Manuel, The Rise of the Network Society, Massachussetts, Blackwell, 1996, p. 29. LYON, Arturo, Entwined: Materializaciones Generativas. Exploración en Pieles Estructurales; entre el diseño paramétrico y algoritmos generativos, MARQ 4, Fabricación y tecnología digital, AA VV, Chile, Hugo Mondragón Claudio Labarca, Pontificia Universidad Católica de Chile, 2009. LE CORBUSIER, Hacia una arquitectura, Buenos Aires, Editorial Poseidón, 1964. LE CORBUSIER, Op. cit. 26. 27. 28. 29. 30. 31. 32. 33. 34. ZÁTONYI, Marta, Op. cit. ORTEGA, Lluís, La digitalización toma el mando, Barcelona, Gustavo Gili, 2009. Flight Assembled Architecture by Gramazio & Kohler and Raffaello d'Andrea, http://www.dezeen.com/2011/11/24/flight-assembled-architecture-by-gramazio-kohler-and-raffaello-dandrea/, consultado el 08/07/13. Personal Manufacturing and 3d Printing, D-Shape's Plans, http://fabbaloo.com/blog/2013/5/1/d-shapesplans.html#.UeCw1o0998F, consultado el 08/07/13. Foster + Partners to 3D print buildings on the moon, http://www.dezeen.com/2013/01/31/foster-partners-to-3d-printbuildings-on-the-moon/, consultado el 08/07/13. FRIEDMAN, Thomas, The World is Flat: A Brief History of the Twenty-first Century, Paperback, 2005 SCHERER, Fabiana, Hágalo usted mismo, http://www.lanacion.com.ar/949441-hagalo-usted-mismo, consultado el 08/07/13. Bjarke Ingels Group, Yes Is More: An Archicomic on Architectural Evolution, Barcelona, Taschen, 2009. DOBERTI, Roberto, “Forma y geometría”, en Espacialidades, Buenos Aires, Infinito, 2008, pág. 86 y ss. 35. MADERUELO, Javier, La idea del espacio en la arquitectura y el arte contemporáneo 1960-1989, Madrid. Editorial 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. Akal, 2008. Bjarke Ingels Group, Op. cit. Bjarke Ingels Group, Op. cit. CAD: del inglés, computer-aided design (diseño asistido por computador). LEACH, Neil (2009), “Digital Morphogenesis”, Architectural Design, Vol 79, Nº1. KOLAREVIC, Branco (2003), “Digital Morphogenesis”, en Kolarevic, B. (ed.), Architecture in the Digital Age: Design and Manufacturing, Spon Press, New York y London, págs. 17-45, en www.i-m-a-d-e.org/fabrication/wpcontent/uploads /2010/08/02. (consultado el 08/07/13). Bjarke Ingels Group, Op. cit. IWAMOTO, Lisa, “Line Array, Protocells a Dynamic Structure”, AD Protocell Architecture, Vol. 81, Nº2, Marzo-Abril 2011, pp. 112-121. Este tipo de trabajos llevó al descubrimiento y patentamiento de nuevos sistemas constructivos como el de una rejilla en diagonal de acero, que fue utilizada en la construcción de “The Gherkin” (el Pepino) de Norman Foster. Friendly Aliens, del inglés “amigo alienígena”. La palabra BIX, nace de la combinación de las palabras "Big", del inglés: grande; y "Pixel", pixeles. Elemento decorativo perforado, tradicional de la arquitectura árabe, generalmente construido en madera tallada de reducida sección, utilizado como tamiz solar. La hydra es un organismo de la familia de las phylum cnidaria, que vive en el agua dulce, posee una forma tubular de simetría radial y una serie de tentáculos en uno de sus extremos con los que captura a sus presas. 48. Graphene: elemento estructural básico de algunos alótropos de carbono incluyendo grafito, carbón, nanotubos de 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. carbono y fulerenos. Material de gran conductividad térmica y eléctrica, y con una resistencia mecánica 200 veces superior a la del acero. http://www.architectureserved.com/gallery/Hydra-Skyscraper-Tesla-researchfacility/1108779, consultado el 16/07/14. Pese a lo premonitorio del proyecto, este ha recibido fuerte críticas, en especial la del co-director de Laboratorio de Investigación de Rayos de la Universidad de Florida, el Dr. Martin Uman, quien no cree viable este proyecto en un futuro inmediato. NESBITT, Kate, Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995, New York, Princenton Architectural Press, 1996. HOLL, Steven, “Phenomena and Idea”, GA Architect, 11, Tokyo, ADA Edita, 1993, págs. 12-17. BACHERLARD, Gaston, La poética del espacio, México, Fondo de Cultura Económica, 1965. (1º ed., Presses Universi-taires de France, París, 1957). HOLL, Steven, “Cuestiones de Percepción”, en El Croquis: Steven Holl 1986-2003, págs. 88-89. NESBITT, Kate, op. cit. Catalogo James Turrell, The Hess Art Collection at Colomé, Entrevista con James Turrell, 2009, Germany, Hess y Steiner. MILETO, Camilla, “La conservación de la arquitectura: materia y mensaje sensibles”, Loggia. Arquitectura y Restaura-ción, n°19, Valencia, Universidad Politécnica de Valencia, 2006. ZUMTHOR, Peter, Pensar en Arquitectura, Barcelona, GG, 2009, pág 15. En BATES, Donald, “Una conversación entre líneas con Daniel Libeskind”, en GIMÉNEZ Carlos, MIRAS, Marta, VALENTINO, Julio, La arquitectura cómplice, Buenos Aires, nobuKo, 2011. ERBACHER, Doris, KUBITZ, Peter Paul, “El Museo Judío de Berlín. Entrevista con Daniel Libeskind”, Elemento 52, México, Universidad Autónoma de Puebla, 2003. HOLL, Steven, op. cit. GIMÉNEZ Carlos, MIRAS, Marta, VALENTINO, Julio, La arquitectura cómplice, Buenos Aires, nobuKo, 2011. ZUMTHOR, Peter, Atmósferas, Barcelona, G. Gilli, 2006. APARICIO GUISADO, Jesús M., El muro, Madrid, Biblioteca nueva, 2006. 64. SVEIVEN, Megan, “Capilla de Campo Bruder Klaus / Peter Zumthor”, en Plataforma arquitectura, Abril, 2015, consultada el (10/10/16) http://www.plataformaarquitectura.cl/cl/764856/iglesia-de-campo-bruder-klaus-peterzumthor 65. SVEIVEN, Megan, “Capilla de Campo Bruder Klaus / Peter Zumthor”, en Plataforma arquitectura, Abril, 2015, consultada el (10/10/16) http://www.plataformaarquitectura.cl/cl/764856/iglesia-de-campo-bruder-klaus-peterzumthor 66. NESBITT, Kate, op. cit. 67. Ibid. 68. Ibid. 69. FAURE, Miguel Angel; CARNEVALE, Liliana Nidia, “Vademécum retorico para arquitectos”, en Summa Humor, nº1, 1979. 70. FAURE, Miguel Angel; CARNEVALE, Liliana Nidia, “Vademécum retorico para arquitectos”, en Summa Humor, nº1, 1979. 71. Premio Príncipe de Asturias de las Artes 2014, en http://www.fpa.es/es/premios-princesa-deasturias/premiados/2014-frank-o-gehry.html?especifica=0, consultado el 01/10/2016. 72. MARTIN RODRIGO, Inés, “La peineta de Gehry a la arquitectura del espectáculo”, en Diario ABC, Cultura, Oviedo, 24/10/2014, en http://www.abc.es/cultura/20141023/abci-gehry-peineta-oviedo-principeasturias201410231845.html, consultado el 01/10/2016. 73. MARTIN RODRIGO, Inés, “La peineta de Gehry a la arquitectura del espectáculo”, en Diario ABC, Cultura, Oviedo, 24/10/2014, en http://www.abc.es/cultura/20141023/abci-gehry-peineta-oviedo-principeasturias201410231845.html, consultado el 01/10/2016. 74. ZÁTONYI, Marta, op. cit., pág. 221. Bibliography APARICIO GUISADO, Jesús M., El muro, Madrid, Biblioteca nueva, 2006. BACHERLARD, Gastón, La poética del espacio, México, Fondo de Cultura Económica, 1965. (1º ed., Presses Universi-taires de France, París, 1957). BAUMAN, Zygmunt, Modernidad Liquida, México, FCE, 2004. Bjarke Ingels Group, Yes Is More: An Archicomic on Architectural Evolution, Barcelona, Taschen, 2009. CALVINO, Ítalo, Seis propuestas para el próximo milenio, Madrid, Siruela, 1990, pág. 9. CASTELLS, Manuel, The Rise of the Network Society, Massachussetts, Blackwell, 1996, p. 29. Catalogo James Turrell, The Hess Art Collection at Colomé, Entrevista con James Turrell, 2009, Germany, Hess y Steiner. DOBERTI, Roberto, “Forma y geometría”, en Espacialidades, Buenos Aires, Infinito, 2008, pág. 86 y ss. En BATES, Donald, “Una conversación entre líneas con Daniel Libeskind”, en GIMÉNEZ Carlos, MIRAS, Marta, ERBACHER, Doris, KUBITZ, Peter Paul, “El Museo Judío de Berlín. Entrevista con Daniel Libeskind”, Elemento 52, México, Universidad Autónoma de Puebla, 2003. FAURE, Miguel Ángel; CARNEVALE, Liliana Nidia, “Vademécum retorico para arquitectos”, en Summa Humor, nº1, 1979. FERNÁNDEZ GALIANO, Luis (1998), “Placeres del pliegue. La ultima vanguardia holandesa”, Arquitectura Viva 69. GIMÉNEZ Carlos, MIRAS, Marta, VALENTINO, Julio, La arquitectura cómplice, Buenos Aires, nobuKo, 2011. HOBSBAWM, Eric, Historia del Siglo XX, Buenos Aires, Critica, 1998, pág. 13. HOLL, Steven, “Cuestiones de Percepción”, en El Croquis: Steven Holl 1986-2003, págs. 88-89. IBELINGS, Hans, Supermodernismo. Arquitectura en la era de la globalización, Barcelona, GG, 1998. IWAMOTO, Lisa, “Line Array, Protocells a Dynamic Structure”, AD Protocell Architecture, Vol. 81, Nº2, Marzo-Abril 2011, pp. 112-121. JENCKS, Charles, “The Century is Over, Evolutionary Tree of Twentieth-Century Architecture”, en Architectural Review, julio 2000, pág. 77. KOLAREVIC, Branco (2003), “Digital Morphogenesis”, en Kolarevic, B. (ed.), Architecture in the Digital Age: Design and Manufacturing, Spon Press, New York y London, págs. 17-45, en www.i-m-a-de.org/fabrication/wp-content/uploads /2010/08/02, consultado el 08/10/16. KUHN, Thomas, La función del dogma en la investigación científica, Barcelona, Cuadernos Teorema, 1970, pág. 4. LE CORBUSIER, Hacia una arquitectura, Buenos Aires, Editorial Poseidón, 1964. LYNN, Greg, “Embriological house”, BLOB, 2000, http://archives.docam.ca/en/wp-content/GL/GL3ArchSig.html, consultado el 08/07/13. LYON, Arturo, Entwined: Materializaciones Generativas. Exploración en Pieles Estructurales; entre el diseño paramétrico y algoritmos generativos, MARQ 4, Fabricación y tecnología digital, AA VV, Chile, Hugo Mondragón - Claudio Labarca, Pontificia Universidad Católica de Chile, 2009. MADERUELO, Javier, La idea del espacio en la arquitectura y el arte contemporáneo 1960-1989, Madrid. Editorial Akal, 2008. MILETO, Camilla, “La conservación de la arquitectura: materia y mensaje sensibles”, Loggia. Arquitectura y Restaura-ción, n°19, Valencia, Universidad Politécnica de Valencia, 2006. MONTANER, Josep María, La condición contemporánea de la arquitectura”, Barcelona, Gustavo Gili, 2015, pág. 7. NESBITT, Kate, Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 19651995, New York, Princenton Architectural Press, 1996. ORTEGA, Lluís, La digitalización toma el mando, Barcelona, Gustavo Gili, 2009. ORWELL, George, 1984, México DF, Gerrero editor, 1999. PIÑON, Helio, La Forma y la mirada, Buenos Aires, Ed. Nobuko, 2005. ZÁTONYI, Marta, Una estética del arte y el diseño de imagen y sonido, Buenos Aires, Nobuko, 2002. ZUMTHOR, Peter, Atmósferas, Barcelona, G. Gilli, 2006. ZUMTHOR, Peter, Pensar en Arquitectura, Barcelona, GG, 2009, pág 15. TOFFLER, Alvin, El shock del futuro, Barcelona, Plaza & Janes, 1970. Fraile Narvaez, M. (2016). Six concepts about the architecture of the new millennium. Initially published in the magazine TRP21 nº4 (2016). www.trp21.com.ar