Renato De Fusco’s historiographical project grew in the years of
maximum reception, in Italy, of semiological and structuralist
theories. Although a substantial part of his critical production
arises from the application of those principles, soon assisted by
the theory of “cultural reduction” (“riduzione culturale”), the
critical openings that can be drawn from his thought are much
broader. These openings concern a field of interests in which the
intertwining of history, theory and criticism is one of the main
critical issues. If, on the one hand, this represents one of the most
interesting challenges faced by his critical legacy, on the other, it
still requires in-depth readings that investigate its evolution over
time and its relationship to the architectural historiography of
his time
