I see the line: the line that draws the form, both in its appearing and in its hiding. Its intrinsic limit consists of being bound to time; so it happens with history itself, which is linear and unfolds in time. It is a line that could implode or unfold.
In the Campidoglio, there is an exemplary case of symbolic architecture, due to the simultaneous expansion of space that transforms into one of the most sublime expressions of the concept of place that man has ever conceived. Michelangelo sought to ideally express the meaning that for centuries was attributed to this concept.
As Cosmocrator, the Emperor stands at the center of the composition. The Campidoglio represents for us not only the center of the world, but also the center of the departures and returns that give meaning and substance to our individual lives. Here, man feels existence as a meaningful, though problematic, relationship between his individual self and the world to which he belongs.
This suggests that the attributes of lines already exist in the world, and that our work is only to reveal those qualities. There is a condition that triggers the final conversion of the line into something that did not exist before, where another potential line lies beneath: the line as a figure of investigation, of change, of transformation. How is this line generated, and where does it specifically come from? There is no possibility of reaching the exact origin of a line. One could speak of how different eras have succeeded one another through the breaking of a line; we are able to perceive past ages through unforeseen gaps, by an experimental search of our memory