Text sourced from Architetti.com

It is a misunderstanding at bottom. It is a misunderstanding to believe that things last a long time. Much depends on the relationship to the time we destine them to live for. In an attitude of respect and mutual understanding, the perceptual condition or behavioral experience is relative. In other words, it is rendered as the architecture itself in its various spatial and temporal forms, experienced as excellence in a work (first and foremost a spatial one), allowed to share in rhythm, acceleration, stasis, flight. Just as in a sonata the forms, colors, and materials appear—those very magical variations now become rules and signs (indeed, rarely, very rarely)—precisely because one of the primary functions of architecture that is activated is this: to make something appear, almost to materialize it, the interrogative about its own being hic et nunc, while dying to live in another moment and elsewhere (which is also a profoundly important category of space).

[…] Rosario Assunto, born in 1957 in Forma e destino, recalls that it is precisely an action of confrontation that can create appearance, illusion, or perhaps even the concrete emotion of a spatiotemporal displacement. Architecture, by its very nature an action of confrontation, generates a priori, exerts gravity, imposes its ictus, welcomes the influx, in short (even without wanting to) represents the human condition. And the effimero is an integral part of this game.
The extreme category of art and therefore of architecture that opposes the permanent and the lasting, (in truth) can anachronistically possess an intrinsic limited capacity to be exposed to the eternal. It might easily allow itself to affirm that the effimero is certainly (most certainly) while durable–eternal are not only improbable but impossible.

Why is all this effimero? It is a reasoning as senseless as believing that everything can last for eternity. Intermediate gradations are gradations and make possible many other technical and technological adventures. Compensating for the self-destructive tendency are the values of solid automatisms that are automatically accepted, and the place is populated by materials that gradually share the pleasure of a life lived and the ambition to be immortal (as for example in non-biodegradability and in millennial decay).

Differently, it is interesting to draw attention to the analogy with illusion and the marvels that the ephemeral has always generated. Because of the evanescence of the phenomenon, it is intuitive that everything that stands before us (beauty) has a short duration. To remain immersed in aesthetic enjoyment would be equivalent (for the rule of contrast) to being directed toward the Minos of one of the hells where immersion is equally indecent and unbearable.

Hence the ephemeral permits wayfinding in the maremagnum of junk and clutter, contaminating itself, indeed, even at times through an excess of inutility. Yes, because here the heel or the mat finds its scope, its function, the necessity of the ephemeral role. And rare, in fact, is the case in which the ephemeral is associated with the unrepeatable. For many, however, evanescence remains sovereign. In architecture, all the actions of confrontation that trigger synesthetic perceptions and relations are particularly effective. These are sensory tensions that can act on the visual (using natural or artificial light) and the extra-visual (operating on the dematerialized surface, on the aptive interactions, but rather rarely on the olfactory and with the interference or better yet the valorization of the sound power of materials).

Even if the synonyms of ephemeral lead one to induce an intrinsic negativity (fragile, fleeting, labile, passing, precarious, transitory, vain), there remains nonetheless evident the positivity of the power of displacement that, in the account in which life is narrated, and by analogy the architectural project, succeeds in bringing into relief the understanding of the fact that life has need of being lived (marvelously).

“The instant is uninhabitable like the future,” wrote Octavio Paz, but given that the butterfly does not count the years but the instants, its own brief time is enough for it.

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