Beginning at the ancient debate of whether architecture is or is not part of the "good-arts" system because of its contamination to a specific utility and a proper function, this article will emphasize once more the essence of "dwelling" to its definition and "to Dwell" as the an inner and an intrinsic character of Architecture. In this way one can understand architecture as the "form of being", or "form of living" whose matter is, as sculpture, painting and, especially, music, the human being himself. The gap between the ancient architect and the modern building engineer can be in this way deleted. The one as the other stay at the origin of the compositional architectural process, determining its reasons (arche - tek-ton), mixing two worlds: the one of "ideas" or their intimate representations (A), and the one of matter, techniques and technologies through which the author can materialize its final product (B). It is therefore in the relationship between these two worlds, called World 1 and World 3 by Karl Popper, that intervenes the typical dynamics of the process of architectural composition. If one thinks that aesthetic judgment intervenes only on the final product of a project, quite apart from the compositional process that intervened in shaping the object, it is inevitable to fall in a substantially romantic conception, and educating for an authentic freedom in the act of architectural composition is impossible. If "the forms of beauty" can be many, that through which these forms are determinated reveals to be a process characterized by recurrent features, that is a consistent circularity between the term (A) to the term (B), between World 1 and World 3. This kind of circularity, between World 1 and World 3, need a specific communication "medium", a sort of "medium matter", which appears to be fundamental when an artist cannot act directly on his final object (as is the case in architecture). In these cases he needs to use a "medium matter" through which he can progressively conceive, simulate and verify his program, ideas and final results. The purpose of this article is also to develop a few considerations specifically on this medium matter in order to evolve some considerations on its proper nature and required "ductility". This medium matter is in fact the principal means through which the artist can manage the process of architectural composition. It is the fundamental "sanctuary" in which the original inner inspiration finds a first comparison with measures of matter that is the space where the dynamics of action-reaction and problem-solving begin. Focusing on this particular aspect, the article will take into account the great changing intervened within the last few years, from paper&pencil to Information Technologies and digital data elaboration as typical instrument to evolve the architectural compositional process. From a medium matter which was able to represent the final object by means of well-tried design techniques, we have arrived at new software which can control the process of architectural drawing, once elaborated only in the artist mind. Finally, this paper will try to investigate the main consequences of these changes (A) on the processes of education in architectural composition, and (B) on its final results: can these new instruments change the aesthetics of architecture and transform our general sense of beauty?
