How many furniture, or houses, or urban districts, that where designed and made in the 80s are stillrelevant today? What clothes or shoes that period can be worn without appearing old or out of time?Everybody can say almost all. In forty years the living spaces have not changed that much. Even lesstheir projects have been modified. The way in which they are conceived and designed is almost thesame. Fashion, architecture, and cities are the sensitive forms that better represent the people thatgenerated them. They express lifestyle, a status and, in some way aspirations and expectations for thefuture. Is it possible that they remained so indifferent to the changes of the last decades? A few timesthe distance between gestalt and zeitgeist was so dramatic. The paradigm that binds the aesthetics tothe projection of time blown up. The overcoming of modernity lies especially in this. We live like aneternal present. Where the sensitive forms and their representations in solid space no longer carry anidea of the future. Even today everything changes and so much faster than before. Innovation isconducted in the intangible areas of the net rather than in the material spaces.The Eternal Present involves us in a bounding. There is a kind of impossibility to interpret the futurethought the “solid forms” of architecture. To give meaning, narrative and uses—even temporaryuses—to spaces that have already given forms and turn them into attractive and ecologically efficientplaces to live.Narrative can be the design device that describes the capacity for resistance of all that is appreciablethrough the senses (architecture, fashion, music), the digital revolution of shared information, or inother terms, to the evolution of the concept of author, of copy, of heritage, of form.