THE ARCHITECTURAL LANGUAGE.

1. m. Set of articulated sounds with which man expresses what he thinks or feels.
2. m. Language (‖ verbal communication system).
3. m. Way of expressing yourself . Cultured, rude, simple, technical, forensic, vulgar language.
4. m. Style and way of speaking and writing of each person in particular .
5m . Use of speech or power of speech.
6. m. Set of signs that imply something . The language of the eyes, that of flowers.

THE LANGUAGE
ARCHITECTURAL

The elements of language in architecture give it a communication characteristic that ends up being an intrinsic part of
it. This language and its communication become an indivisible part of an architectural work: its essence.
The purpose is to interpret the role that language plays as a way of communicating and interpreting what an
architectural work has, how through the different elements of language it is trying to transmit an idea or a meaning .
Language in architecture is not something that comes from outside, it is something inherent to the object, and said
language is almost infinite, the multiple combinations of elements are innumerable and each building thus acquires its
own meaning.

“… The architect will not produce a work made of words, but rather an object made of shapes and materials. This object
transmits its own particular message that largely does not allow itself to be translated into words. This architectural
language corresponds to a historical time of which it is an expression. Consequently, it requires constant renovations
based on changing social requirements and according to time ..." Charles Baudelaire
The architect is continually obliged to be different from himself and from others... he must become a sociologist,
politician, semiologist, obliged to find elements that formalize systems of demands...
The architect's function, then, would be divided into three fundamental operations:
Operate with the elements of architecture (its vocabulary, its layout, its materiality, etc.) looking for a meaning or a
conceptual idea.

Manipulate the combinations of these elements (their formal relationship), forming the form of the volumetry.

Review what such signs serve for their recipients.

In 1919 in Germany, the Bauhaus School was founded by Walter Gropius . From its formation a new conception of
space begins. Design has social reach with the appearance of applied arts and with the development of industrial design.
Regarding architecture, the design object is decomposed into its various elementary parts, which then give rise to a
recomposition based on their combinations. Architecture then emerges as derived from the laws of functional and
economic nature. The project is the result of its program of needs, and it is here where rationalism begins to draw on
the most successful examples.

In the book “Towards an Architecture ” by Le Corbusier , the concept of language is understood differently. Le
Corbusier characterizes the house as a living machine , the language is then derived directly from this idea. The handling
of linguistic elements must clearly express this intention.
“ Architectural emotion is the wise, correct and magnificent play of volumes under the light ”…
The architectural language is made up of the elements of composition, their arrangement, the materials, the function,
and the form that the building adopts. A work of architecture is characterized by a character , I understand character as
that quality that makes understandable, in social terms, the destination, the theme, and the hierarchy that the work
represents.
Architecture and its manifestation clearly respond to the thought system of the person who produces it. The
paradigmatic example of Le Corbusier is his house manifesto La Villa Savoye of 1929, where he applies his famous five
points:
The free plant.
The piles (to separate the volumetry from the ground and for the landscape to be incorporated into the composition).
The free façade.
The windows closed.
The garden terrace.

In Mies Van Der Rohe we find an assimilation to the concepts of Adolf Loos, with the play of mirrors and the expression
of planes with the colors of the materials. Abstraction and reinterpreted classicism are not so clearly evident in any
other work, where language is once again shaped by a high degree of significance.
As for its materials, they are used and expressed in such a way that the constructive reality is verified, the function is
also expressed and the volumetry is clearly interpreted. Despite the classical connotations of its regular grid of eight
columns and the generous use of materials, the Barcelona Pavilion was without a doubt a suprematist-elementalist
composition.

“ The project aims to combine two different types of landscape: the more urban access road and the garden below, which
extends to the hill overlooking the Vedeggio valley. The current residential spaces are housed in the semi-cylindrical
volume that rises at the north end of the building on a long structure that contains the entrance on the upper floor, and
the services and pool on the ground floor. The semi-cylindrical volume is compact, but the interior was nullified to create
openings, sheltered from the projection of the main volume.”
“ The primary objective was to achieve a form of dialogue with the urban fabric and the possibility of expressing the idea
of light and movement. The complex has company administrative offices, a conference room and a training center and
underground parking. The project was born from the idea of breaking the wall of buildings on the avenue that connects
the historic city and the sea. The curved wall distinguishes this space, while a handful of skylights allow natural light to
enter the object.”

“I thought of the hope of making a house for man in the design of the "House of God." The city is the house of man. It is
the place where he lives, works and communicates with other people. It is a space collective where history and memory
reside, where the work, tensions and hopes of people accumulate. Building a cathedral today is an extraordinary
opportunity to create and enrich the environment in which we live. It is a new expected sign. for man. It offers a moment
of silence, reflection and prayer, and speaks of man in relation to the rapid changes and contradictions of today's life.
Yes, I believe that the cathedral is a necessity for those who believe and also for those who. They do not do it…

…It is a testimony that connects us with the great past, when our ancient cities were new.
The construction of a cathedral, which is not only an episcopal seat, but an affirmation that the deepest of forces are
still present, is the will to create a place that can help us face the daily challenges and struggles of the life. A cathedral is
today a symbol of man's new attitude towards the environment in which he lives. For the architect, this means working
and building in the hope of satisfying the need for eternity that is present in each of us.”

CONCLUSIONS

Although all architecture communicates, this form of language evolves... The design premises are transformed from an
evolution in history.
Architecture is expression... By expressing, we are communicating. Our works are the result of what we try to convey. If
we understand our discipline from this perspective, we will realize the tool we have in our power, the power of the
word, the idea, the gesture, the teaching.