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.
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.