There are no obsessions. Passion and curiosity, but no obsession.
In the observation of the hexagrams of the I-Ching the n. 53 stands out for its vague resemblance to the letter A, or for the analogy with the shape of a small house, as a child would draw it, but with a flat roof.

A door. A window.

Then it turns out that, like all the symbols in the game, it is made up of two overlapping trigrams, whose single meaning reveals the usual mystery of a language far from ours, built through images.

Below: the mount
Above: the wind – the tree

In the boundless allegory that connects these two elements, with the tree that, exposed to the wind, grows silently and slowly above the mountain, the interpretation is unleashed: Gradual Progress, Calm Advancement, Development. It urges us to treasure the trials to which we are called, making each one a possible ground for forms of initiation, never ceasing to learn.

All this represents a seductive metaphor for making architecture, even in a weakened and difficult context such as that of the province on the borders of the Empire, in which, building every day, one must still try to give answers to common questions, both ancient and contemporary, like that of living.