Certainly, the twentieth century represents, in a planetary scale, a process of mutation comparable to that experienced by the Greeks immediately after Homer. All these transformations indicate a specific field, that is culture. The cosmos established by urban design or by religious rituals in the past suddenly is substituted by a transdiagram produced by global communication. A complex pulverized in the logic of architectural projects as synaptical design.

For the first time a cosmos is essentially dematerialised!

A new order that revealed by the etymological origin of the word "culture": the Indo European term *kowl which means "to surround a catch", like as in a hunt in progress. This also suggests that the maximum aspiration of a such system - its total significance - can never be reached, unmasking its condition of permanent revolution!

Culture is nothing more than the ideal human tool of self-defense against natural order. If not the idea of crime wouldn't be possible! Art emerges as an antidote for culture. On the other hand, religion assumed - submerged into the meanings of religare and relegere - the sense of a moral justification in face to natural order.

But, the humanity generated by Gutenberg's mobile press gave place to another human being in a new stage of civilization: who René Berger called "teleanthropos". For the first time, in humanity's course, social relationships are no longer established by physical proximity. Jus Soli and Jus Sanguinis became obsolete and contradictory. Before departamentalised into closed territorial fields, a planetary, volatile and turbulent ethos appears. A humanity no longer made up of minorities, but of innumerable interlaced mediums.

A non stereotyped human-being formated by astronomical quantities which end up redesigning this formidable nano-scale being - a dematerialisation of material culture which affects the whole spectrum of human behaviour.

Material culture means, in last instance, sensory design.

A such dematerialization also indicates other fundamental questions like one showed by Decio Pignatari in the 70s: the "solid light" - "born" with impressionism and the invention of photography, it arrived to computer graphics to generate the idea of "time presentiation". As stone was the temporal interconnector par excellence in ancient architecture, light becomes - at the turn of the second millenium - the ideal temporal presentiator. In this universe, our senses come to be projected no longer as extensions, but as true sensory prosthesis - and a profound sensorial metamorphosis takes command.

In this way, since the end of the 70s, I've worked architecture as a direct representation of the plastic formation of synaptical patterns, through sensorial inputs and outputs - architecture as alive intelligence.

New religious principles, a new condition of sacred and new spaces for new senses in art and culture.