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The project for me starts from the drawing  and from painting. In fact, when I was young, I wanted to be a painter, but I also draw a lot.
When I have to start working, when I'm busy tackling a new project, I always start from observing nature. A great sunrise, the underwater world, moving clouds, volcanoes in  eruption. Or a stream that blends into a desert of rocks with the blue color of the sky or that changes its depth with the light.
I have always painted and will continue to do so. From there comes a lot of work material. I mean painting, which is different from "drawing architecture". Even today when I come to university to talk to students, I instinctively start painting.
My drawings follow the gesture, they are controlled proportionally by eye, in this attitude I feel a bit beaux-artes. I never draw a symmetrical thing, I was influenced by Caravaggio's wonderful works and his relationships. The problem with my method is that I can't, and I don't want to, delegate the creative phase. I want to follow the whole process from the beginning because otherwise I would not know how to convey what is in my head.
At first there were only my signs. Then a second piece was added, the creation of models. For example, I can start from a parallelepiped. And in that case I start breaking it, making holes in it, creating a void in or around it, then I intervene again to study the relationship between the remaining volume and the one taken away.
Punctually I find myself removing, rarely adding. For some time now, a third has been added to these two moments which belongs to the universe of the computer and exploits new technologies, I am speaking here of digital drawing. The entry of virtuality into architectural planning is a revolution comparable to the discovery of perspective in painting. It allows you to have more control over the project and to better imagine it before it is completed and takes on a definitive shape.
These three "pieces" of the work must then be completely amalgamated with each other. Painting, modeling and virtual technology are all stimuli to arrive at architecture, they are all tools to raise tension. Because you can never get to the emotion if the tension does not grow.


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