Lo stato delle cose e la nostra formazione

Is it possible to apply strategies of formal decomposition to the figurative patrimony left in heritage by the generation of Canella, Rossi, Aymonino, Semerani and companions? Or better, isn’t it the only way accessible, after acknowledging that the historical and dialectical conditions in which those architectures and their authors took place can’t be repeated? And even, are we sure that certain figures, taken away from their natural environment and reput in circulation, still don’t preserve something of their original meaning? And how much? Therefore, it’s only by the “historical” betrayal of their world that today it’s possible to release the formal and semantic values, that instead, for their nature, benefit of several lives. Maybe, for does who loved certain forms, it’s the only work to do.