"Nothing precise, or rather: architectures, strategies, heresies, stories, discoveries, and genealogies for an immediate happiness avoiding the wait for better times" is the exhibition, curated by Luigi Prestinenza Puglisi, born as a broad reflection and relaunch for contemporary Italian architecture.

Hosted until April 12th in the Scarpa Area of the Fondazione Querini Stampalia, in Venice, it presents - through material models in ceramic and cement, images, figures, and technical drawings composed and recomposed in a narrative path - the competition project for the expansion of the MAXXI in Rome (2022) drafted by three of the most important contemporary Italian architects, Peluffo&Partners, Stefano Pujatti ElasticoFarm, and Beniamino Servino. A work that courageously addresses some culturally unavoidable issues for architecture today. Among these, the importance of a shared and shareable popular architecture. The need to work on the ephemeral, with agile and modifiable works. The necessity of drawing from memory through forms that populate our imagination. The centrality of research on architectural space understood as a connection between individual and collective feelings.

"Italians, Edoardo Persico stated, "must face... the ability to believe in precise ideologies." It was 1934 but little has changed since then. We Italians continue to have a suspicious attitude towards technology and progress. We suspect a future that does not keep its promises, it distresses us, it is threatening.
From a history perceived as a succession of collapses, a reactionary attitude is born that cancels the present and projects us into the past. But it can also become the ability to recreate and recompose fragments, as in Scarpa, Moretti, or Michelucci.
Fragments, after all, serve to understand who we are, not where we are going: they do not produce certainties, but emotional and narrative genealogies. Architectures that privilege storytelling over theorem, play over efficiency, irony over technocracy. They distrust abstraction and intellectualism and seek clear forms and shareable symbols. Like neorealism in the arts, it does not reproduce reality but interprets it. Its strength lies in the ephemeral, in genealogy, in authorship, and in the popular dimension. Perhaps insufficient for global challenges, but capable of creating, through stories, spaces of freedom.
The project we present materializes a possibility for the architecture of the near future. Living in the happiness of the present and shunning the totalizing utopias of better times." (Luigi Prestinenza Puglisi)