rk is an unconventional image that pushed the architect himself to define his project as "a weak configuration" calculated but aesthetically free [Vattimo, 1976].A REPRESENTATION OF THE WORKS OF PETER EISENMANEisenman shows how it is possible to proceed from an abstract idea to a concept that is anything but abstract, to show how the generative dynamic of all his plans can be described or, if necessary, rebuilt in every minimal detail. The study induces, therefore, a reflection on the possibilities but also on the limits that characterise the uncertain logic of formal systems applied to the new knowledge of notation and architectural representation.The space of architecture can be declined at different scales of reading and intervention, permitting a gamut of representations that ranges from maximum abstraction with respect of the concrete space, to maximum detail. Each path allows for the rediscussion of the outcome of a formative process which orientates solutions and objectives. The result reflects Colin Rowe's [Rowe, 1984] teaching of Chomsky [Ciorra, 1993] or the mathematical logic laying at the base of the "variable linguistic" or of the calculation with words' conceived by Zadeh [Zadeh, 1978].The use of a method and the application of a process as "the art of thought" remind one also of the geometric experiments of Francesco Borromini or of his greatest admirer Guarino Guarini. Borromini chooses a geometrical figure, an equilateral triangle, to demonstrate how the unconventional use of this shape-structure could become the matrix of new architectural conceptions. The church of S. Carlo alle Quattro Fontane (1637-41) or the church of S. Ivo alla Sapienza (1643-60) show how the geometric-mathematical language is able to drive the formative intentionality over the conventional aspects. In the same way the process of geometrical deformation, brought to a head by Guarino Guarini treating the section of a cylinder, reveals how geometri...
