Space and matter. A solid void for a weak monumentality

Following this essay one can say that the immaterial icon of the building perpetuated over the last three decades, characterized by a shiny and evanescent materiality, seems to re-flect a deep tiredness today, featuring an increasingly rapid obsolescence of its image. As a result, there is a need for a major review of the interpretation process of the requests coming from the market and geared toward a new exegesis of the tectonic detail for a formal and material interpretation of the soundness of a financial system looking for vali-dation. This condition, while proposing a healthy come-back toward a conscious control of the tectonic dimension of the building, re-interprets, in its typological and topological definition, an unexpected importance of the Italian tradition which has always featured an approach to composition with a directness of the tectonic detail associated with a consid-eration on material facts and a thoughtful measure of its inner consciousness as contents carrying a poetic nature. Such assumptions, reiterating the future end of the liquid anti-material evanescence of the building, today the prevailing expression of large Eastern numbers, when interpreting the demand for a strong compactness of the economic dimen-sion, revalue the formal and constructive statutes of the local Western Latin area. It follows that the theoretical and physical soundness of the Modern, the liquidity of the “post-modern condition”, the free evaporation from increasingly recurring to the contemporary aesthetics of disappearance, in characterizing the evolution of the entropy of architectural matter, entail a cyclical return to the solid state of matter outlining in sculptural massive-ness of the building, the basic assumption of the research around the terms Structure and Form in architecture. To paraphrase the title of an essay by Franco Purini of a few years ago envisioning the return to a solidity of the building, there appear on the horizon im-portant news that have been expected for some time that define precisely in a new mono-materiality and in a more intrinsic relationship to art, particularly sculpture, the theoretical assumption of contemporary language. In this context the space between things is assumed as an active subject. It configures the positioning of a presence aimed at reverberating, in the whole organic of a composition, an icastic dimension.