It is customary to define modern art as art for art's sake, when the meaning of this expression deals with the tendency of art to be exclusively occupied with itself, with the elements that make up its medium and with self-limitation – phenomena which led to the appearance of absolute abstraction and "pure" creation. As in plastic art, modern architecture is also concerned with limiting creation to the immediate tools of the medium – space, mass, light and shadow. In doing so, modernism led architecture to engage with binary and dichotomous ideas of contrast. At the same time, it can be seen that postmodern art and architecture, which have been criticized, not always rightly so, have been able to challenge this structure by placing additional and foreign elements to the binary division – which has led to the creation of a new, complex and conflict-filled architecture. The postmodern concepts of Robert Venturi and Aldo Rossi serve as a basis for the formation of a tool, thanks to an intervention in a historical structure that is meant to be consecrated, rather, the project seeks to present a formalist approach that sees itself as freed from traditional conservation conventions, placing the facade as the generator of planning, while perceiving it as an independent element that is not committed to a plan or To organize the space inside the building. This approach is demonstrated through a radical and iconoclastic preservation move of the Amal cinema building by the architect Aryeh Sharon. Thus a new architecture is created that contains internal contradictions, complexities and heterogeneity – architecture as a mixture and not as a compound.