Throughout the last years of the nineteenth century and the outbreak of the First War, the world is experiencing an economic boom that seems unlimited. Positivism, capitalism, power, money and exaltation of a climate of enjoyment of life are the framework on which public and private palaces are built emulating the pomp of past eras. The cult for luxury, a note of Gothic drama, even disproportion, signify these years predestined to idealization.

Classical inspiration, passion for the exotic, strong presence of sumptuous materials and repetition of geometric motives make up this style with repercussions throughout the 20th century. In these lands, Art Deco merges with the rationalist and functionalist trends in vogue deriving in facades, spaces, furniture and objects that distil the first of an unprecedented geometry.

A preliminary version of the synthesis could define an aesthetic cooked in the Buenos Aires of the 40s by the hand of principles imposed by the influential people of the moment. Jean Michel Frank is one of the main exponents of this new aesthetic stripped, light, handmade and elegant.

In a corner of Europe known as Scandinavia, around the 1950s, one of the most consistent design currents of that time is created. An aesthetic that fully meets the ideals of Modernism, although through its own path, strongly tied to the geography and culture of the region. Alvar Aalto, Arne Jacobsen and Eero Saarinen arrive at the Argentine market with the help of visionary and passionate figures who keep the country updated.

One of the densest periods in events and representations of the entire twentieth century. Rebellion, youth, pacifism, flower power. Large furniture firms manufacture pieces by modern authors in literally industrial quantities and Italian design sets trends. The hippie, the pop art and its challenges to perception, neo-dada and pop in its fullness, creep into homes to challenge the established canons. Argentina participates in this effervescence almost without delay. Fun, criticism and overflow mark the norm.

The Englishman David Hicks is the most influential figure in interior design during the 70s. His is the art of bold superposition of strident colors, of antiques interspersed with abstract painting in modern interiors, of a strong geometric imprint on carpets and papered with big drawings.

In Argentina, it affects tradition, styling takes on as a timely turn of the screw to renew the known.

John Pawson said about this movement that minimalism is not the culture of self-denial, deprivation or absence: it is not defined by what is lacking, but by the correct character of what is present and by the richness with which it is experienced.

The permanent stimulus, the simultaneity, the possibility of apprehending the whole world through knowledge and virtual communications derive in a creativity that is nourished by a myriad of sources. Technology and industry support the realization of all dreams. But this phenomenon has its opposite: saturation, consumption turned into an end in itself, urban violence, entire continents of garbage. The human being can freely choose where and how to live. The present is a challenge.

The world experiences a new era of confidence in its infinite possibilities of creation, invention and construction. But it has also gained awareness of the importance of stopping damage at all scales: the neighborhood, the city, the surrounding landscape, the planet Earth. The future proposes an alchemy of unsuspected materials with unprecedented properties and a universe of buildings, objects, links and experiences based on the principles of sustainability