GENESI DELL’ARCHITETTURA. GEOMETRIA PER IL PROGETTO.

Genesi dell’architettura. Geometria per il progetto Making a discipline "attractive", in particular the Descriptive Geometry, is the measure of love that we each have for ARCHITECTURE, architecture "no ifs, ands or buts", not tied to individualism appreciation for some architecture, but the ability of revealing the beauty inherent in it, not tied to historical periods and/or currents of the moment. This is to show students the occasions, opportunities, all the possibilities that can be drawn from teaching to educate their forma mentis to Architecture. In an interview, D. De Kerkove (http://www.mediamente.rai.it, D. De Kerkove "The neo-baroque" digital. Florence, 31.05.96.) presenting a workshop called "Digital Renaissance", asks: "... as develop the art technology, the sensitivity, aesthetics, specifically Tuscany and make it available to the world ", making Tuscany part of the total memory of the world. "What!?". In recent years there have been questions of how to educate an architect to design in the information age and of Hyperarchitecture "(R. Migliari) on its features and even more urgently and critically about the role of geometry. But any communication arts entered into the different expressions, two-dimensional or three-dimensional, virtual disclosure of an idea or reality, is actualized by a holistic act. The latter is related to the magic of the line, to a necessary rigor that evokes geometry in all its expressions: size and proportion, investigation and construction. More, the latter are structural and structuring of the architecture project and are particular of the Descriptive Geometry.Meaning and rigor are the common basis for discipline, but another is the complex training and forming the educational project.The troubling "how" is a feeling among many teachers of different disciplines of the degree course. The key issue is communication: the segmentation of design architecture has contributed to the undermining of the knowledge of making architecture through the weakening of subjects as if they do not contribute to a single curriculum. The failure of communication between different areas, albeit minimally, given the scale of contributions cognitive, leads to the sterility of individual lessons. We need an educational project that does not lead to a temporal and sectorial vision, but we need this project to develop a hermeneutic plan of architecture. In the same interview, De Kerkove was asked if digital art has reference to the Renaissance or Baroque arts. He consistently exalts the characters of both: "... if the measure of the Renaissance world was the man, now the measure of man is the world. ... The men of the Renaissance have taken all thought connective, and made it independent, and now it has gone from an individual thought to a new thought connective. ... The Baroque has been the exploration of the senses ... It was the translation of everything sensory transmission from the tactile to the visual, but also the transmission of visual touch. Today we are exploring all the senses, to listen with three-dimensional virtual reality, we are exploring ways how the people of the Baroque, but ours is an electric neo-baroque form. " Connective and sensual thought transposed into crystalline or fluid and dynamic forms have developed influencing and alternating condition over time. It is a problem of technology or thought? Considering that in a society, thought and culture are influenced by the available technology, and that its spread creates conditions and a mindset, we need to understand and pass the criteria and the structural logic of communication.