Il segno e la scrittura compositiva: trascrizioni e realtà

Knowing how to carry out an idea requires autonomy and accuracy, two opposite terms that in the design process determine the dialogic intersection between the creative phase and the practice one. It is a rigorous exercise that requires control of the impulses deriving from intuition. Recognizing how the intersection of abstract and initially poorly defined elements can evolve into the sincere and authentic architectural expression to which we tend determines a reflection on the most specific, characteristic and exclusive communication and control tools. The search for communicable control criteria with which to measure ourselves sets the content of this paper, where the path towards the control of the design process does not follow the certainty of a univocal practice but is instead configured as an experiment, subject to the variability of cultural factors and open to new interpretations. The project we are thinking of is not a finished entity, such as its completed and verified result, but rather a process. How to begin, how to discipline the ideational mechanism, how to develop it in a language that recognizes the rules that lead from abstract expressions of thought to the more cogent ones that have space and form as their subject? These are the main issues. In this context, the synthesis process that leads to identifying the founding traces of a project is arranged as a primary gnoseological practice. The chosen tools are those of non-figurative representation, oriented towards a form of graphic conceptualization in which the traces take on meaning and morphological autonomy. It is a possible approach, from which considerations and confirmations emerge about the educational potential and the rational content of the traces, intended as the last and first graphic conceptualization of the project, on which a critical reflection is proposed. The interest in the issues about the forms of transferring the idea through different graphic languages is systematized in a rational operation that investigates the relationships between composition, shapes and signs, starting from the search for original factors.