This music by Libeskind comes after the music of the young Daniel who dreamed of being a professional musician. His parents gave him an accordion because they were afraid of exposing themselves too much by bringing a piano into the courtyard of the building where they lived, in Lódz, Poland 1946 , dark era.

So they gave him that instrument which «is nothing other than a piano in a suitcase», explains Libeskind, but around the age of twelve he had exhausted all the possibilities that instrument could offer and understood that he had to move on to architecture. A dream, an enlightenment, also, above all, a love.

The one for drawing first of all and planning: «Drawing is something divine, which does not need sophisticated technologies, but only inspiration and beauty. Drawing can stage the complexity of the universe with a pencil, drawing is capable of synthesizing that same complexity on a piece of paper", continues Libeskind.

And to Bucci's question about what the fundamental skill is for being a good architect, he replies: «You must be surprised by the wonder of the world. He must be amazed by this beauty, by everything that has happened since the origins of the world and not just by a film or a book... And he must put love into what he does."

It talks about Brunelleschi and Michelangelo, about domes and piety, about the Renaissance (still relevant because it talks about the man) and about a city that must protect its inhabitants, just like the Storto, its skyscraper who protects Milan from City Life.

A samurai from Akira Kurosawa. This is how Bucci defines the architect Tadao b, a warrior of life, who uses the project as a reason for existence and an objective to be achieved in order to remain in the hearts of men. It was 2019, the year of the interview reported here and the Japanese architect was in Milan for an exhibition that Armani Silos was dedicating to him.

The man for whom «the most important problem of architecture is to remain within the hearts of people and light must not only illuminate the architectural space, but also the hearts of men» has a story worthy of a film: he was a truck driver, then a boxer until he saw the Imperial Hotel in Tokyo designed by Frank Lloyd Wright: a building that became his heart to the point of forcing him to study architecture as a self-taught until, in 1998, he opened his own studio in Osaka.

Fascinated by Lecorbusier's idea that architecture is a space within light, Tadao Ando talks about joy and beauty, essential elements to create a "beautiful, aesthetically interesting environment, spaces where you can live well, where you can perceive the joy of living, doing beautiful things".

Beautiful things are also those that Mario Botta allows himself to do in the month of August, in his studio in Mendrisio, in good solitude: he has never taken holidays, except when he was a teenager: « the idea of a break that interrupted my rhythm in some way has always bothered me a lot", he explains, however defining that suspended time in August in the city as a time he had lost during the year, "a time in which I can find myself again, in which I recover the pleasure of small, well-done things that had escaped me."

Meditative, almost monastic, that summer moment is the moment in which it is possible to find oneself and reflect on one's work. By drawing, because for him drawing embodies the vision of the world and the pencil, as Bucci writes, is a seismograph that records his emotions.

He then quotes Louis Khan to define building as a sacred act in itself, "an action that transforms a condition of nature into a condition of culture". Not only that: «The need that drives man to confront the dimension of the infinite is a primordial necessity in the search for beauty that has always accompanied man in the construction of his own life space».