Contextualizing the Modern: Prospective Architecture

Classical rationalism, especially in the context of architecture and design, refers to a philosophical and design approach that emphasizes reason, logic, and order in the creation of buildings and environments. While classical rationalism has its roots in historical periods such as the Renaissance, it has also influenced modern ideas, shaping the way architects and designers approach their work in the contemporary era. Classical rationalism values ​​order and symmetry in design. This concept has been integrated into modern architecture and many architects have found ways to incorporate balanced and harmonious compositions into contemporary structures.

When modernizing, the grandiose monopolizes the notion and transforms perceptions already established in large cities during the 19th and 20th centuries. In the case of Germany, Karl Friedrich Schinkel as a neoclassical architect, in his works reflects purity and harmony in a transcendental way. His work in Berlin, the Altes Museum, incorporates classic architectural elements such as decorative friezes, pediments and sculptural details that evoke the grandeur of ancient architecture.

"Adolf Behne in his book Der moderne Zweckbau (The Modern Functional Building), where he made a clear distinction between the functionalist who "wants what is absolutely adequate and unique for the particular case", and the rationalist who aspires to build "what is more appropriate for general needs, the norm."

Locating a landmark of great importance on an island makes it more unique and interesting during this time when new technologies permeated the theoretical-practical knowledge of the architectural field. Its location is totally bourgeois and almost whimsical. In the first decades of the 19th century, the German bourgeoisie experienced a growing sense of self-awareness and confidence. This emerging social class began to adopt new perspectives on the connection between itself and the field of art.

The tectonic order of the Altes Museum is manifested on the outside and permeates the interior, creating an organizational experience that visually expresses predominance. The interior of the museum is organized axially and symmetrically, reflecting classical order and proportion. The galleries are arranged around a central courtyard, providing a logical arrangement for the display of art and antiques.

The Altes Museum (Old Museum) and the Neue Nationalgalerie are two museums located on Museum Island in Berlin, Germany, but they differ in several ways, including their architectural design, the collections they house, and the period of art they represent. In contrast to the Altes Museum, Mies van der Rohe highlights Neue Nationalgalerie as a contribution to architectural evolution. Known for his minimalist approach, he focused on open spaces, clean lines and the rejection of minimal ornamentation. Their designs sought to achieve a balance between functionality and aesthetics.

Characterized by clean lines, steel and glass, it reflects the aesthetics of the modern movement. Its industrial compositional-constructive aspect results in high transparency, an unusual element in museums with highly recognized art. In its context it alleviates the visual since it moves away from concrete as an essential element to achieve monumentality. It generates a light and monotonous, simple appearance, almost as if Schinkel's projection in the Altes Museum would only be present in the structural organization in terms of the floor plan. The perspective in both projects is perceived differently, almost that Schinkel's is expressed internally vs. Mies's is expressed externally.