Flat Warts Verruca Plana

THE RETURN OF BALANCING Demiurge

C 'it's no doubt that the architect is called to do: a choice. Even before St. Thomas (1225-1274) the issue of free agency has assumed a central role in society. Even the architecture as a work of man (and society), it houses a theme, that is, the subjective and personal choice: a certain kind of choice and sometimes the courage to keeping it up, scored the success or failure of the architectural work. Especially in humanism, in which all the fields in the man becomes the central subject (it makes the 'Vitruvian homo faber), placing in his hands (in his choices so) the fate of the universe: it is no coincidence - dare say-that the Renaissance marks the birth of the "string-star", the architect becomes the mediator between the world of ideas and matter, in a sense becomes the demiurge platonic! The technical skill of the architect will have to marry the ideas, then transferring to build an information value as well pointed out, Professor Wise who sees the information carrier of value added . The big choice, naturally lead to the search of its limits, research often becomes established and then becoming a movement traditions, impact on all the historical period following . The field of research is often designed with some unease, as he moves into a dark field with the bright torch of rationality investigating land unknown, the insinuation of the fear of the unknown, implies a rejection of the new positions, one does not want to look ahead while remaining firmly rooted in the past. But when research revealed to him at the door of a novelty item, it spreads unstoppable, creeping like a river in flood, uprooting trees are rotten old and still a company, and it is no coincidence that the new ports come always (or almost ) young. Seneca, he noted that "those who want (or adhering to the will of fate) are conducted, those who do not comply are torn (or compelled by force to join)" where the fate is the relentless advance of the new.

The avant-garde of the twentieth century were those that most were able to cut the bridges with the past, to distance themselves from managed to take a fresh look, the more distant and therefore more historically critical. If the architects of 7-800 were (to paraphrase Bernard of Chartres) "Standing on the shoulders of giants", those of the last century (and even more his contemporaries) are instead to sail in a huge open sea, where the choice has become very personal and technical capacity limitations were dilated (virtually) indefinitely.

The illusion of objectify the architectural choice (whenever it arose, such as in the Renaissance, rather than in modern times) in fact led to choose a range of solutions, and above all to impose propia choice to others, to objectify, to the point that Le Corbusier warns us in his Vers une Architecture that "There is no plant litter, arbitrary," and then added the track regulator that it is a "guarantee against the arbitrary." The will is therefore seen by Le Corbusier (but not only) as something to avoid, coming to dictate its famous five points. Then let us remember the famous formula of Mies van der Rohe's "less is more ", which proposes an architecture tank, sometimes cold, almost mechanical; but perhaps, after all, may be right when Oscar Wilde said that "nothing is more necessary than superflu or ...

picture: the design of the Palm Island Dubai