Described by Gianni Pettena as “a contemporary Stonehenge,” but also as “a lesson in spatial perception,” this work metaphorically reaffirms the idea that there are no longer any frontiers today, when one is referring to themes relating to physical space, between the sensibility of the architect and that of the environmental artist.  The architecture, represented here by an icon that symbolically sums up its entire history, becomes recognizable only through a more attentive reading of the space, only through a process that leads from an inattentive perception to a more conscious one, capable of considering and evaluating the modifications, the reference data and the relations that, apparently always changing, are recomposed through the control of reason, so that the apparent disorder finds (but may also not find) an order, a structure, a memory. With the “physicality” and large dimensions of the work, conceived on the occasion of a conference on the theme of the future of contemporary art in the urban context (Inonia. Quali città d’arte a venire?, University of Cassino, May 25-26, 2001), the author also intended to express his own opinion on the theme of the debate, so as to reassert, through the visual impact, a possible means of theoretical affirmation.  The work, once realized, was placed in an external spaced of a collection (Longo Collection, Cassino) well known for its interest and attention to subject related to environmental art  and the correct perception of physical space.