Editorial

Abstract

A graphic image has a communicative power superior to any building; it speaks directly to the people and, as a result, it also threatens the communicative capacity of architecture. As Venturi observed, since the 1960s the building has become the advertisement of any brand. However, in the anonymous and uniform world of objects manufactured in series within which we live, the ones we use every day are not so impersonal when they have some graphic element that gives them meaning.

We cannot blindly accept the instrumental aspects of our representation, we must develop a critical position towards them in order to create new tools that will allow us to expand the analysis and pursue a truly meaningful architecture. Beyond the technological potentials of current architectural representation, beyond instrumental reason, architecture needs to find ways to critically represent temporary and existential human space.