Il progetto dettato

Abstract

To design does not mean to give color to ideas onto a preeminently bi-dimensional surface, but rather to produce effects – positive, if possible – within a world that is three-dimensional. In this perspective it will be necessary to assume as its constitutive (and not accidental) characteristic, the project’s propensity to fail, to deviate, to change, to collude. In other words, we must admit the systematic unpredictability of those effects that we wish to achieve. In morals, just as in architecture, it is not true that we have intentions that can later be ratified by documents. The opposite is true: we first receive a documental formation (rites, education), and only later what we have received can be translated into intentionality. To not consider this does not only engender a misunderstanding, but – in fact – a removal: a removal of the documental dimension of the project as a symptom of a larger and more decisive removal, that of technique.