Transparent, dematerialized, deconstructed, for some time now contemporary architecture has manifested the signs of a modification that continues to alter its objective, both structurally and culturally. Today, the objective of architecture is, indeed, to assume diverse forms in the reflection of a comply and transforming modern condition. The technological paradigm that is currently redefining itself is influenced in large part by the diffusion of digital instruments that progressively reveal possibilities that architecture cannot neglect. This Festival in Florence is witness to this process of change. Its purpose is to show the most recent works, which introduce the latest critical means and instruments. I believe it is important to develop techniques and languages that aid and expand both the design process and its mode of communication. The introduction of digital technologies develops new interpretations of constructed space and favors different productive configurations. The intensification of the complexity of design matter modifies professional activity, and at the same time translates itself into an integrated system of numerical elements capable of controlling the project and its evolution. Video, in architecture, has by now assumed a decisive role in the presentation, documentation, and analysis of construction; but its success and its recent rediscovery are due to the fact that video gathers new ideas and impressions from the digital revolution and reproduces a small but significant portion of them. However, all this depends on the use of a means of communication. Because video is widely diffuse it is, potentially, a very influential means on the processes of information and communication. Every year the Festival in Florence brings together the most interesting international works and gives privileges to the projects of architects and students of architecture. In addition, the speakers and the meetings reflect on the express contents and role of the technologies of communication adopted by architecture or in confined research environments: from the construction of digital spaces in cinema, to interactive environments, to the mechanical construction of architectonics elements through digitally controlled tools. In order to realize these new levels, it is necessary to focus a critical eye on the possibilities and limits of the digital and to develop new languages and new forms of architectonic expression. Marco Brizzi Introductions Romano Del Nord Cosimo Carlo Buccolieri