Its not geniuses what we need now. With this phrase Jose Antonio Coderch headed the sincere and torn article, with a certain nostalgic note, first published in the Italian magazine Domus, then directed by Gio Ponti, in the number of November 1961. However, the text was not Initially thought this publication: was written as passionate GHFODUDFLyQ principles, on the occasion of his entry into Team X. In response, another member of the collective of architects, JB Bakema, will send you a copy of Le Petit Prince, of Saint-Exupery, with a heartfelt dedication. Something later, in 1996, twelve years after Coderch's death, Peter Smithson recalls the original text, commenting on it, describing the master's work with a good instrument, eg a good pair of scissors ... The project for the municipal agencies Of the Town Hall of Alcuéscar presented here has some of this: it is considered as an instrument, a support, almost an infrastructure, which proposes as a starting point the basic ideas, sometimes forgotten, of architecture and which Coderch claims in his well-known text , Today more present if it fits: the landscape, the road, the crossroads, the limit, the enclosure, the man. For this we propose a first logical action, almost using the scissors before the pencil: remove what is left over, not geniuses what we need now. This is no time for stridency. Again, Coderch resounds: The time of the HVSHFWiFXOR is over. An elementary architecture is imposed. Do more with less. Back to order. To geometry. To those secrets that belong to architecture. Everything should distill serenity and also simplicity. There is no need to force complicated morphologies, nor simple calligraphic exercises. On the contrary, it is necessary to arouse patient reflection, quiet intervention, to seek the most adequate, even if it is necessary to act against the current, to limit even the initial requirements and to be guided by a kind of illustrated pragmatism, working with the most objective data possible, Seeking that unstable balance between the means and the ends to be obtained. Do more with less. Thus, the dialogue between the possible and the appropriate, mediated by an intuitive expressive brevity, has been the chosen path. Always around the idea of ​​simplicity, the challenge is to obtain through a simple lyrical architecture, silent, serene and evocative, and why not, almost anonymous and timeless, that takes advantage of resources and responds to the context without disproportionate technological artifice. An architecture that implies sustainable being