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Abstract
Una riflessione comune sui principi di costituzione fisica e materiale dell’opera d’arte e d’architettura unisce inaspettatamente, all’inizio degli anni '60, il lavoro di Sigurd Lewerentz con quello di alcuni artisti del Minimalismo. Ciò che emerge è la ricerca di modalità operative elementari ed evidenti, volte ad annullare lo scarto tra pratiche specialistiche e quotidianità.
