The position of architecture between art and the natural sciences has always been a matter of debate. In recent years, architects have not only turned to science for inspiration, but have claimed that architecture is itself a science, based on theoretical paradigms and experimentation. At the same time, spatial concepts and strategies of minimal, conceptual and postminimal art became increasingly important to free architecture from its archaic and symbolic charge. In architecture as well as in art or science, interferences between areas of knowledge require the recognition and ordering of patterns. In the work of architects, artists and scientists, the process of invention and imagination is similar, operating with structures while recognizing logical and aesthetic criteria.

The consequence of this development is a relentless search for perfection and increasing precision, a quality that appears to be the destiny of the technical world, which includes works of art. It is however questionable whether higher levels of precision will result in higher levels of functionality or creativity. In the transdisciplinary migration of paradigms and methods between art and science, the role of architecture (and of architectural education) can no longer be taken for granted. Research is increasingly the source of new technology and expertise. On the other hand, experimentation should be open for ideas which appear anachronistic or visionary, inappropriate or unrealizable. Should we regard precision as the necessary precondition to merge art, technology and science in architectural design, or should we intervene, opening up new spaces of freedom?

Esta conferencia será expuesta por Akos Moravanszky.
Miercoles 29 de Marzo del 2006 de 12:30 a 13:15, en el Saló de Graus de Filosofia.