The project language in the case of Via xx Settembre in Genoa, Italy

The architectonic process can be summarized in a scheme that systemizes all the activities that make up the whole practice of architecture: concept, design, building, expertise, language. The fundamental distinction between language and images is that, as De Saussure wrote, "in language there are only differences." The differences are what language can express. In the drawings, however, the overall end result doesn’t reveal its diversity from other representations, even if the technique consists in a system of differences. In language, for example, the meaning of the word "complex" is evident from its simple opposite. A drawing does not have a contrast equally recognizable. The design evokes primarily what it represents. Language, then, can express the differences much better than drawing or any image. A feature of language is its distinction in the object language and meta-language, which is the distance between what the words express and the field of meaning that gives someone the ability to communicate. The realization of Via XX Settembre in Genoa, in Italy, covers the last decade of the nineteenth century and the first of the twentieth century. It is a nodal period in architectural technology, a phase of transition between traditional and experimental construction systems, including a consolidated based language ornaments borrowed from the classical tradition and new decorative parties, inspired by the international language of eclecticism. The evolution of the architectural style evolves in parallel with the graphic language, and it is clear from reading comparative installment of the palaces of the road projects. With the advent of concrete the project’s graphic language evolves and rationalizes, and picturesque and descriptive becomes more conventional, symbolic and encrypted. With the spread of c.a. and Hennebique patent specifically, it makes a significant change to the scope of the technical representative. The signs become more conventional and the drawing representation increasingly rational and schematic, and the need to reproduce the artwork in multiple copies ensures that you leave the graphic polychromatism.