Some of these answers stay in the field of traditional language of architectural composition, some demand new forms and words for expression and understanding. The methodological consequences of this were basic anti-traditionalism on the one hand, bordering upon a complete exemption of history of art and architecture from educational programs, and an open quest on the other hand, for the first time appreciated as the main regulation for learning and pedagogical work. This contribution can be seen as an offer to put forward discussions with my fellow colleagues in the field of architecture. Having suffered myself from certain buildings and from carrying out reconstructions on my own house, I consider myself one of the ideal naive user s of architectural space. The artist of modernity has freed himself from tradition, which expresses itself in the picture of the world.
Visual representation serves no longer as representative goals, but reaches autonomous significance.
Thus the artist of modernity has become increasingly isolated. The artist of the 1980s though turns once more to the traditions. This essay follows the thesis, that the reality of dwelling is captured in concepts of language, that refer to actual social situations. Since the wall no longer exists, people experience changes in their lives from the familiar to the unfamiliar. This can be revealed in the use of familiar words in an unfamiliar manner.