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roa into the shadow, to never abandon the reality that the unknown is that it offers, even if it is of greater value. It is seen that in periods of crisis such as ours is when it is most likely to recover the prejudice of reality and fall to the misunderstanding. (...)

regard to architecture and decorative arts, we see that there is the temptation of referring to natural patterns. Recognize the usefulness of a building, the attraction of the way we produce, taste that pushes us to choose a carpet, a porcelain ...; presuaden us that just aesthetic pleasure. Now this pleasure is not always evident, and in the same way, but always intended to be ascribed to quality.




(the problem of realism and unreality in the art)