ABSTRACT
Current thinking about the design process as an intermediate stage between the idea and the architectural product has raised a series of questions, presented in the critical reflection that follows, which seeks to find the connection between mind and emotion, establishing the author as a constructor of inhabited places through the manipulation of form, and an originator of spaces where the present, past and future overlap, at each moment in everyday life, at solemn moments, celebrating in a constructed work the dream of eternity pursued by all mortals. It is a question of recognizing the value of dreams in teaching architecture, its history, and pre-vision, in a world where the longing for permanence seems to collide with the fear of recording, in work, the world of the moment, and to assume that, in the present day, the life that passes also deserves to be documented despite the ephemerality that pervades a present whose future is uncertain.
