ABSTRACT
Whenever we encounter a figure inscribed in a filigree of geometric lines, we
believe it belongs to a genealogy of humanism in architecture, one that can
be tracked as if their geometries and patterns are footprints of that subject
left behind in the sand, or rather, imprinted in concrete. We think we can fol-
low these marks back to an origin and that whenever we cross them we can
choose to follow or diverge from their path.
