Like functionalist architecture of the international style, the minimalist and conceptual art of the 1960s seemed to demand autonomy from the surrounding social environment. It only represented itself as a factual, structurally self-referential language. It sought deliberately to suppress both inner (illusionist) and outer (figurative) to achieve a zero degree of significance. The classicism of Mies van der Rohe was based on an apparent honesty of materials linked to an idealized, universal, and highly abstracted notion of ...
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Like functionalist architecture of the international style, the minimalist and conceptual art of the 1960s seemed to demand autonomy from the surrounding social environment. It only represented itself as a factual, structurally self-referential language. It sought deliberately to suppress both inner (illusionist) and outer (figurative) to achieve a zero degree of significance. The classicism of Mies van der Rohe was based on an apparent honesty of materials linked to an idealized, universal, and highly abstracted notion of space. These modern buildings soon became popular containers for multinational corporate offices in the capitals of the "free world." Como la arquitectura funcionalista del estilo internacional, el arte minimalista y el arte conceptual de la d???cada de 1960 parec???a reclamar una autonom???a respecto al entorno social circundante. S???lo se representaba a s??? mismo como un lenguaje f???ctico estructuralmente autorreferencial. Deliberadamente, buscaba suprimir tanto las relaciones interiores (ilusionistas) como las exteriores (figurativas) para conseguir un grado cero de significaci???n (...). El clasicismo de Mies van der Rohe se basaba en una aparente honestidad de los materiales unida a una noci???n idealizada, 'universal' y altamente abstracta del espacio. Estos edificios modernos pronto se convirtieron en populares envases para las sucursales de oficinas corporativas internacionales (multinacionales) en las capitales del 'mundo libre'.' Dan Graham
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