https://youtu.be/zGTY9AETom0 It is a very serious subject, beyond the galleries, the critics and the public. In most cases the aesthetic suffers.
MY ENDEAVOR IN THE ART OF FORMAL ARCHITECTURE
"I am obsessed with integrating the essentials of art, philosophy, science and self-consciousness into my thoughts, actions and shiftings. My MORALITY, LOGIC, EMOTIONS and INTELLECT are the base of my existence while the IDEAL, AESTHETIC, FORMAL and ORIGINATIONS are the cause of my self motion. My standpoint of the importance of art and form in archite
cture does not mean my denial of or oppositions to the many aspects of architecture which are obviously necessities for its manifestation. My artistic sense serves me as a track for the knowledge of self and of art, philosophy, science and my consciousness of others and things. It is about the nature of my being and its willed potentiality. The knowledge component in the artistic sense is about the importance of its FORM, STRUCTURE, CONSTRUCTION, and SHIFT. The artistic sense engages relations governing these concepts in the generation of space, ideas and behavior. My moral individuality is relegated by my inner ego which preserves my artistic sense towards perfecting and origination. Self completion necessitates the combining efforts to integrate the divergent tracks of art, science, philosophy and consciousness. The inner sense of generating the formal art of architecture, philosophically and scientifically and with consciousness edifies self-evolution, self-manifestation, self-ordering, self-stratification, self-oneness. Art and architecture imagery and imagination are empowered in the spatial forming gestations. Art and architecture imagery and imagination are crippled in problem solving manipulations. Art and architecture images and resonations are incitations in the individual’s mind construct. Art and architecture images and resonations are engravings in the common’s brain imitations. Gradually by my own choice based on a sincere desire, I am willing my individuality by reaching my own deep senses and testing my own abilities without being diffused externally into the common trends which I have resisted strongly, barely succeeding to be myself. I have paid the price for this self-imposed rule of conduct, and I do not regret the retrogression, the slowing down, the self isolation, and I have never had any resentment towards or envy of those who are in the spot lights. There is no doubt that the exposures to the great architects and artists in this century are a given phenomenon which I obviously have been interested to recognize and digest. And morally I must divest my memory of all the particular constructed images in their work and correlate with their hidden systems. Sometimes with a great patient effort, I reach their remote intangible structures, their most elusive form origins as I retreat to contemplate my own discourse in the same spirit. I have, since 1982, succeeded in giving myself time, a self-granted endowment which I will continue to maintain. In my way of resonating mental imagery sense as an ideated form, my IMAGINATION is to cooperate in abstracting and shifting. And my way of structuring geometrically, generating psychologically and constructing aesthetically manifests the IMAGE which is destined to be SYSTEMATICALLY MANIPULATED to fulfill my intellect, sense and inner ego. My constructed images are not ends in themselves, but rather many of them are aborted without being finished. The truth is that across the past 14 years, frustrations have prevailed more than contentment, in the sketchbook as well as in the mechanics of the drafting board. Self-testing is an imposed moral attitude to reach:
The first level: the IDEAL
The second level: the AESTHETIC
The third level: the FORMAL
The fourth level: the CREATIVE
Sometimes I do not reach the fourth level. Sometimes the fourth level comes first and I cannot reach the ideal. In all cases the formal is the subject of investigation…
The formal desire in the emitter of architecture is to transform building to an evoking particular state of conscious artistic expression. It is not a question of either architecture or building. It can no longer be building only, as this expresses boredom and dims human potential. Architecture can only be described as great architecture. Building can only be described as good building. This critical thought can potentially alter the educational system and the nature of practice. I use architecture as an interface between the deep inner and far outer reaches of my sense, mind and consciousness. My use of architecture is like a bridge between myself on one side and a collective human potential on the other. Architecture to me is that link to how far one’s own destiny will reach. My present self condition and mind state have benefitted by crossing other’s bridges in an attempt to develop myself by following others. It took me much time to reach my own frontiers edge. It took me years of mind preparations to set the footing, to structure the plans and strategies, to construct my bridge to the ever unreachable: “the collective human potential”. The evolutionary tracts of art, philosophy, science and consciousness are my minds scaffolding that pulls me up to a more complex, ideal and creative reality.”
