First approach: give armony to a solid. The problem was clear, a rude solid shape had to be transformed 5 times, digged, sliced, twisted, everything necessary to donate ARMONY to this form.

It wasn't easy, nor the beginning nor the modelling, but the result it's very close to its idea in my mind: a box linked to the ground with gentle slopes, like a tent; a spiral hole in the middle creates an ascensional path to the top; a big cylindrical hole creates a flux through it; a wall stops this flux; eventually a water blanket on it. It looks like this:

To individuate the final form I've used the Gold Section rule several times, but once after another, I've realized that Armony is not only the proportion of the parts, the gold section or whatelse, armony is the result of a complex interaction between the components.

Second encounter: working on the first impression I'd find a link between these three materpieces. This is what I said: "Unicity it's more common than complicity, complicity likes condivision of the same point of view: to share a vision it's marvellous but incomprehensible from an external person"

I've reached this conclusion looking at every situation and analyzing the changing of meaning following different points of view: the felt-in-love boy of the first painting is sharing his love with another person, so there would be 2 people in the whole world that can understand his face and his feelings. It's almost the same for El Greco's picture, there are two lovers again but one is the protagonist, the other is God, so another one time the unicity of the complicity between the two. It's obvious in the middle picture because as well we move from the point of view chosen by the artist, we get a complete different prospective that have different meaning, a different message.

3rd movement: fishing in the sea of memory, I've chosen 3 text that I really appreciate and then I've found the relationship between them and the three pictures above. These adjective would become the aim of my project cause they are part of me, my personality, my soul; I'll build a "thing" in Lecco that will underline its potential and include my adjective. Here they are:

"They danced down the streets like dingledodies, and I shambled after as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones that never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes "Awww!"

'On the road', J. Kerouac

"Moon River, wider than a mile,
I’m crossing you in style, some day.."

'Moon river', H. Mancini

"The mystic cords of memory will swell when again touched, as they surely will be, by the better angels of our nature"

'American history X', D. Mc Kenna

Myshtic is the love felt by the young man in Giorgione's picture, love that's nearer to heaven than humanity. Stylish is the nature, the country, the bucolic view of Van Gogh. What's Interesting in the picture painted by El Greco is the ecstasy exchange between the angel and the protagonist.

4th passage: Wandering in Lecco we have to catch some views, photos, sketch or anything else that's somehow connected to our aim: three details with lack of style, not interesting and absolutely not mystic, and where I'd love to apply transformations.

The meanings of an adjective, a part from the definition in the dictionary, it's personal. My concept of "stylish, interesting, mystic" is unique and I'll try to explain their meanings for me: Interesting is what is not clear for the senses, so if the totality of an entity it's obvious, there will be nothing to look after and the curiosity is turned off. Mystic is the light, the sunshine on your face: it comes from the outer space, the coldest place in universe, and it's so warm and naturally bring happiness to people. Style is evident, it doesn't depend on personal taste, when something it's stylish is clear and everyone would admit it.

These are my adjective and my project will be like that!

5th act: the project consist of a student house in Lecco, it's a small project in a very little scale, but the signature of this house should be recognised in every project that I'll make, if it is done with a criterion.

I've started from an Initial paradigm, which is the direct application of the adjective to some aspects, and then I've increased the complexity of the project in a Organitional paradigm, where I've explained the translation of my aims into details.

Sixth paragraph: disposition of the volumes with appropriate dimensions. The main room is the living room that's not the geometrical center but a point of interest for the life inside the house. The stairway conducts to the upper floor where there're the rooms and a bathroom. The height of the living room is twice the other, this to implement the brightness in this local. It's also present the round door of the kitchen.

7th exercise: I should increase the complexity of the project connecting three items of memory, from my childhood, with a dynamic point of view, focusing on the connection in the organitional paradigm. I've chosen a feeding bottle, instrument that I used for too much years, a pair of shoes with Velcro which represented for me a turning point (I felt older with them, don't know why), and a bike fall, a sport in which I was an expert. Here they are represented with the link in the organition paradigm and the sensation associated.

V1: The feeding bottle reminds me warm, tender moment, and the connection between the kitchen and the lounge room must be round shaped and also warm.
V2: The translation of the Velcro shoes is an adult, defined profile and the entrance must be like that.

V3: Eventually when I used to fall from the bike, my body was projected foward: so when you walk out from the room, approaching the balcony you must feel that pulsing force to face the ground, fortunately not materially but just looking down in safety.

8th scene: trying to formalize the project, starting from the paradigm and applying the rules, I've made this possible view in the context. In this solution I've used a water blanket, there're two holes in the facade that are somehow mystic with the darkness inside and the upper hole was chamfered following the rules.

9th step: with the following perspective I would focus the attention on the importance of light in a project, like a vehicle of feelings and with a great potential. Different uses of this element could lead to opposite results. In this image the light is like a call from the outside, leading you to the balcony. Is not the light itself that really interest me but the psychological effect on people and the mystic rule is exactly built around it.