We are always more conscious -as operators of the process of construction, as teachers of design methodologies- of the necessity to reconvert existing building sites into places, architectures, and environments capable of satisfying our needs without compromising the needs of future generations. Sometimes as inhabitants of the built environment we are either fond of or repulsed by a place, either its interior or exterior or by the figurative features of its facade, or probably because we are affected by a series of perceptions not only visual, but olfactory, tattile, emotional that influence us without our knowing. Often as designers of architecture we are in search of that set of ideas that allow us to conceive of environments capable of solliciting in those who use them sensations of comfort, pleasure, of reflection, of serenity and of security, according to the type of building we are designing. As instructors, often we must be careful when teaching the difficult work of an architect to take notice of iconographies that can charm with the false beauty of ornamentation or lighting which make certain spaces or architectures appear interesting when, in effect, they are not. In any case, the use of effective means of communication help define with clarity the meanings or intentions of a work. Audiovisual and informative means of communication, which are often underestimated -or overestimated- concerning their potential efficacy as an instrument of work and communication, continue to be used merely as instrumental aids in design, teaching and research. They are tools that are nearly always used as accessories to traditional instruments and methods. For the architect, the project has always been the fundamental instrument of communication with the diverse actors of the creation and use of the architectural works. The innovation of virtual reality, made possible by the use of digital information technologies applied to video, open a new way of communicating the characteristics not only the figures and techniques of a design project, but also the environments and uses of the project. Moreover, knowledge of a camera or of video cassette recorder allows us to document environmental connotations that are difficult to describe through other means. Thus, these new technologies of representation are continually acquiring more space among the communicative instruments of the architect. The novelty of this year's festival - organized by architects Marco Brizzi and Giovanni Galanti - resides in the choice of presenting a specific theme of undisputed interest, that of the reconstruction of dilapidated structures with technological means and the opening of the participation to constructors of buildings. I hope for ample participation and exchange on the Festival's themes. Cosimo Carlo Buccolieri Centro di Documentazione e Comunicazione Audiovisiva PMPE Department Director Introductions Romano Del Nord Marco Brizzi