Upon observing recent architectural experimentation, what is certainly true is that examples of cultural centres are becoming increasingly more common, as compared to what was the case at the very beginning when few examples of this kind of structure could be found in the most enlightened parts of Europe. Today, cultural centres may be identified as veritable places of entertainment, dispensaries of worldly cultural events and theatres of exact social customs. In time, these centres have undergone development that has transformed them into an ensemble of spaces and uses located in close proximity to one another. The purpose of these centres is to favour and diffuse artistic productions and manifestations and to make them accessible to a larger public. The architectural constants that distinguish this type of location become peculiar to a type of architecture that is not just the spatial translation of specific functional inputs, but a move in the direction of programmatic terrain, expressing its purpose in activities either planned or imagined, in the interpretation awarded to the space used for communication, in creating closeness or separation, in the hierarchies proposed, and, above all, in the imagination of a public space that will encourage its collective or social use
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