The period that has begun after the last quarter of the 19th century brings an open conflict between the Â‘historicalÂ’ aspect of modernity and the Â‘aestheticalÂ’ one. The situation raises a question about the modern architectural shapeÂ’s dependency on architectonic function. Utility, production, profit become the keywords of the ideology; new social utopias and their reflection on the architecture-for-the masses projects emerge. This leads to the urban alienation of the modern man, in spite of the well-intended architectural functionalism and mechanistic comfort, both of them ideologically uphold in order to ensure an easy livelihood for the proletariat. Thus, the late modernity is constrained to retrieve though eclecticism the very values that has denied itself, the mixing of codes that it Â‘performsÂ’ nowadays standing for a new ideology, one of Â“the ending of ideologiesÂ”.