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The text will start from the origins of the “critical regionalism” denomination to investigate the consequences of the “operational” approach to the history of contemporary architecture. In particular, I will start from the new framework in which the role of architecture today arises and from how this derives a need for an overall "repositioning" of the architect and his culture which requires, in addition to a change in responsibility and age, tools also reconsideration of the architectural events that preceded us and of the approach to their analysis. I will consider how the “regionalistic” position of many characters has produced a double consideration of the events of a modernity that today more than ever appears unique, multifaceted and useful perhaps more for what it contained “marginal” than for its mainstream. Finally, I will deal with an attitude, in the past practiced by architects, that of the construction of a “history” useful for the trade, now almost completely abandoned, and the risks that derive from this.

The article testifies to some critical steps in architecture development in China through personal experiences related to the problematic relationship between atopic stereotypes and the specific culture of the places.

This paper presents the methodological assumptions and the results of an educational path developed during the Covid-19 lockdown. Starting from a reflection on the construction of a minimum living space, the design theme developed was the concept of a one-person house (OPH) to cope with additional lockdowns and social distancing in the future. A process of research by design pursued through four propaedeutic exercises, anthropomorphically inspired and conceptually linked by ideal and progressive actions of assembly and control of measurement. A pedagogy of design based on the material nature of architecture, following a construction philosophy that focuses on one of its founding principles, tectonics, or the art of assembly.

Il testo indaga le relazioni tra procedure compositive e modalità costruttive, in particolare ambisce a ribadire il potenziale espressivo della costruzione, riaffermando la tettonica come principio interno all’architettura stessa, in antitesi alla tendenza contemporanea di derivare la legittimità dell’opera da discorsi estranei ad essa.