WORKS

In a sequence shot around a drawing board the protagonist (Pettena himself, recently graduated architect) does anything but design: he trims his nails, stretches his back, takes slips of paper and money out of his billfold, scratches an ear, lights a cigarette.

Thus in three minutes the film ironically represents the attitude of indifference shown by those who had to use the usual instruments to practice architecture, a common feeling at the time in the nascent field of “radical” experimentation and in particular for Pettena, who already felt himself to be part of another world, that of research in the visual arts.