Between 1966 and 1974, a European protest movement developed, which claimed an opening of architecture to conceptual and artistic practices, free of any constructivist aim.
Neither style nor movement, architecture-sculpture encompasses a series of architectural approaches which stand out from post-war functionalism through their sculptural and sometimes biomorphic shapes.
With his book Green Architecture (2000), the architect and theorist James Wines calls the attention of his peers to the ecological disasters related to the building industry. Going beyond a mere environmentalist criticism, he formulates the need to produce a universal message, a “green” aesthetic that presents itself as a true communicative iconography.
The practice of architecture has undergone a deep mutation since the 80s. The introduction of the computer and the logic of information treatment that it entails in the architect’s work have deeply influenced a discipline that was trying to renew its codes and language.
In the face of the frenetic urbanisation that Europe experienced in the post-war period, some architects designed new overall town planning schemas from the late 1950s onwards, marked by a fundamental reconfiguration of architectural and urban space.
At the heart of sustainable development, at the intersection between the environment, the economy, and social issues, resides the essential need to innovate, to establish ‘permanent creation’ as a cornerstone. Without this desire, any action in the face of climate changes would be in vain.