Abstract
The survey of social values associated with an unorthodox, liquid, elusive reality, where concepts such as the pure, the clear, and the perfect, have been overcome by the tensions of contemporary life, has led architectural dogma into a frank crisis for at least fifty years. Venturi was one of the first to reflect on this, associating it with a chromatic idea where gray settled on white or black. It was the end of the great stories of modern and already historic architecture. From then, the possibility that otherness, diversity, and difference were installed in the blurred spaces that architectural rationality had left without suture or closure.
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