*1.1.6 Styles*

According to Córdoba [10], quoting several authors, he mentions: style is a norm that presents an order, a system, a method, which is materialized in an art form, it is the element from which archaeologists can access the logic of style. Therefore, the study of style as a construction in itself must always be, at first, a descriptive investigation that accounts for the constructive form in which it materializes, a system of knowledge-power, it is therefore the materialization of thought and of an order of rationality. But at the same time, as a material, corporeal representation of this system of knowledge-power, style becomes a social product, immersed in the fabric of social practices. Style, and in this case art, is then a social phenomenon, inserted in social practices and in the fabric of any society, defined from an aesthetic criterion proper to this phenomenal expression and therefore of historical character. As art is an aesthetic phenomenon inserted in the social, political and cultural, expressing itself as the materialization of a way of thinking and of a certain social rationality of thought, it reproduces in its interior a set of essential elements of a certain social reality. In spite of the different subjective pretensions of the author, its materialization always responds to his social being, that is, to the set of perceptions shared by the collectively of a group of individuals in a society. A style appears at a given time and place as an expression of an ideological situation that manifests itself in a set of forms and contents that represent the individual performances of creative activity, born of a certain attitude toward artistic transmission. Later, the style can gain influence on other circles, and it can be transmitted, but as soon as it goes beyond the limits of its environment, its country or its time, it loses its content of ideas and can only be "norm," "fashion" or "model" [11].

Style can be considered as the universalization of a language in a given time; it implies canons, characteristics, and particularity, which, together with the technology of the time, allow the art object to be located in space and time. The style possesses its own syntax and the object will be elaborated within the terms of a given composition [12].

*Architectural Trend and Style a Historical-Ethical-Esthetic Approach to Design Praxis DOI: http://dx.doi.org/10.5772/intechopen.112331*

#### *1.1.7 Trend*

A trend is a preference or a current that tends toward a specific end or ends and usually leaves its mark over a period of time and in a certain place. Originally the word trend meant the direction a river takes. Later it was used to designate the course taken by events [13].

The scientific natures of tendencies are impersonal and lack the dramatic coloring of heroic personalities. The term also lacks the necessary moral and ethical implications. For example, when the marriage trend increases or when the birth rate trend decreases, it impersonally states the facts without suggesting progress or regress, although of course, they can be interpreted as good and bad. For some, a declining birth rate is regrettably for others and desirable. But the trend line alone says nothing about it. To project a trend, a past trend must be taken into account; a past trend must have a certain duration. The farther out a trend projection is carried, the greater the error, and the projection of trend lines into the future is not a prediction of what the time series will actually be like [14].

### *1.1.8 Project design*

In order to contextualize the ontological dimension of the sciences of design, it is imperative to distinguish the origin of the object of study of our discipline: space. Great philosophers have tried to describe and define their position on the surrounding space, relating it to the inner and outer world; in the interior of each being, there is a complex system of ideas and knowledge that can be inherited or abstracted, while in the outer world, the abstract of our idea is concretized. The task of the architect is to translate these ideas, thoughts and sensations of our clients into a tangible medium capable of being verifiable. There are no preestablished laws (unlike the laws of physics) that govern the model of abstraction of knowledge, the development and reconstruction of ideas and their subsequent realization in a project proposal for our client, however; the impact of this process of creation promotes a change from the intangible to the tangible, even allows modeling the social behavior of people, because through our designs we guide the daily work of our clients, if we propose adequate spaces the activity will be adequate, but if we propose deficient spaces the activity will be deficient. On the other hand, to establish the epistemological dimension of the design sciences, we must understand that the design process is based on the transfer of knowledge through the representation of graphic signs, for example, the conception of a house begins with the idea that comes from the cultural and social needs of the individual, this idea is materialized through a graphic representation in a plan, and then made tangible in the construction. In this context, there are several systematic, rigorous and objective processes that validate the scientific character of design sciences, not only as a mere representation process but as a science that allows transforming reality.

**Table 1** summarizes the relationship between the terms analyzed.


**Table 1.** *Epistemological relationship.*
