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The primary purpose of architecture is to express through its second purpose, building, the sense of inhabiting human beings on earth. I have always believed that this expression is of an artistic nature and, as Ludovico Quaroni recalled in his book The Tower of Babel, should be entrusted to the architect as homo poeticus. This implies that the community nature of the territory and of the city is the result of a collective writing that transcends itself and its own functionality to participate in a dimension in which everything becomes profound, unpredictable, metamorphic and mysterious, finding, beyond sociality, what it is individual and unique.
The privileged place for me where living is continued and improved in order to make the lives of human beings increasingly free and happy is drawing.

It is the space of the idea, the thematic ambit in which architectural writing is defined, the cognitive and creative dimension which is articulated in an interiority and an exteriority, in the sense that thought must find a way to escape the indivisibility in which it is enveloped until it is still in the mind to become a communicable image, an explicit and tendentious judgment on reality and its transformation.
Consequently to what has been said so far, in my life as an architect, drawing means exploring an impervious and infinite landscape of problems that cannot be solved except through form. This entity, both abstract and strongly concrete, is revealed in my compositional work through a practice that is repetitive and at the same time always new. For me, drawing is a severe and liberating discipline, a somewhat alchemical process. It is being fully invested by the energy of the sign, by its ability to reveal what is obscure, potential, possible or impossible. Somehow drawing, which represents things and therefore makes them exist, is a door to alternative worlds, multiple and extraordinary contents like so many promises in the world in which our existence takes place.

FRANCO PURINI- 04/21/2016

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