Form and structure

Consistence and destiny of the coming solid configuration
The synthesis of any aesthetic and perceptive thought has always expressed itself, in the concrete field of the objectual language, in volumes and silhouettes which impress the trait, the code and the message within the manifold reality of the visible world.
Thus, we can still consider the shape as syntax and language of plastic and figurative elements that compose the image of historical and contemporary civilizations, welcoming to our modern way to feel both the psychological aspect persisting today in the current deduction of its messages and the emblematic and content-related aspect, mistakenly considered the exclusive prerogative of the tradition and the classical memory of the West.
In this area of interest how the idea of symbolic form still succeeds in containing the logical construction and the emotional charge of the modern disciplines related to visual arts, from Architecture, to Landscaping, from Graphic to other synthetic expressions of thought, which can effectively define the roles and the characteristics of human history’s epochal civilization: the forms of characters and writings, the pictorial-sculptural forms, the decorative shapes and the ones of the furnishings, as well as the very forms of fashion and aesthetic trend of customs, appear indeed, today more than ever, burdened with the symbols expressing models of interpretation and orientation within our contemporary scene.
If it is currently possible to associate with the good form the modern conception of its architectural, urban and environmental “macro-structure”, there may be a strategic-figurative role that appoints, among Nature and Artifice, Geometry and new Biology, the appearance of new wings to the aesthetics of the great and organic technological machines that will occupy, inevitably we assume, the space and the fate of our imminent aesthetic and cultural future.

Form and structure – Riccardo Cecchini