Homework assignment "From the past to the present"

      Pier Luigi Nervi, in his study of the schism between building technology and aesthetics,  presents architecture as resting on a field apart from any other art. This transitional phenomena of the composition of architecture is apparent to him through the limits and restrictions placed on this "art" by its many technical means. He goes on disapprovingly mentioning the architectural criticism in time, with its formalistic point of view which he believes is particularly damaging to the future architects. Nervi furthers his point by taking as example his own dual investigation, both as a builder and as a non technician, where he concluded that even though a perfect technical work could be aesthetically non expressive there exists no aesthetically perfect work which is also not excellent in its technical aspect.  He states that to build means to achieve maximum efficiency both economically and technically thus referring to the phrase "building correctly".
     In this sense he agrees that even the construction of a building could deeply influence its aesthetic notion playing a great role in the psychological observation and its impacts on people. Furthermore, one must also consider the proper choice of materials in the building process in order to achieve longevity and durability. When he passes to the relationship between architecture and economy, Nervi  remarks that what suffices for economic efficiency is the result of adequate proportioning of spaces, ornamentation and materials with respect to the purpose of the building itself.
Pier Luigi Nervi suggests that the presently established ornamental elements of the architecture of the past acquired their aesthetic expression though a refinement in time with a starting point of merely utilitarian reasons.  "Termale" for example, is the system which initiated the powerful internal architectural expressions, originating from construction necessities of the elementary Greek plan.
     However, in no other architectural period has  the connection between aesthetics and technology been more evident than during the Gothic period. As Nervi argues, the Gothic builders were the ancestors of modern technology, changing the way equilibrium was achieved from heavy masses of masonry to the use of slender parts with very good materials with the best representation in the Large cathedral and the Chapel at King's College.
One of the main achievements of the Gothic architecture are the flying buttresses which served as a substitute of far greater technical refinement for the heavy structure of the Roman Baths (termale).
      During the time between the 19th and 20th century, with the mass production of steel, the era of technical intuition surrendered its place to the "structural mechanics" thus opening a new dimension of construction possibilities. One of the large buildings of this time period would be the Hall of Machines of the 1889 International Exhibition in Paris as well as the Eiffel Tower whose only concession to the ruling formalism was the addition of circular arches to the structure underneath the first terrace.
      Lastly, Nervi concludes that through his study of architectural buildings of the past, the relationship between technology and aesthetics has remained intact. Such a relationship could only be defined, according to him, through this statement: The objective aspect of the problem together with its technology and statics offer solutions and forms which are later on welcomed by the aesthetically sensitive designer and given a personal modification and proportion which constitute the artistic element in architecture.