After several years pursuing an architecture without form, that is to say avoiding the creation of form for its own sake, I found myself encountering the inevitability of the architect as a maker of forms which are charged with all of our cultural preoccupations.
The development of an architecture without form was undertaken in Madrid, especially in the project for a school of visual arts where the form was almost incidental and diagrammatic. lnternalizing the essence of learning architecture in a collective and highly experimental environment and the idealization of daily situations were creative devices used to open a cultural institution into an anti-dogmatic formal expression.
Also the avoidance of compositional devices as an opposite reaction to the styles of postmodernism and deconstructivism, which I found to be limited and not rigorous enough, were influential in my disregard for formalism in architecture.
On reflection it becomes clear that I was interested in appearance. Accepting this contradiction as part of the creative process triggered the search for multiplicity of formal origins. I started to conceptualize the architectural problems of pragmatism and physicality realizing that architecture could be a higher discipline of problem solving, where poetics of life, a place, or an object and also imagined situations are linked to a functional brief.
Another concern was the search and understanding of the desires and aspirations coming from the collective involved in the creation of architecture. The figure of the client in its public and private manifestation, who brings confusion and contradiction into the creative process, and the builder who is usually driven by profit making motivations.
The above was used as a delaying tactic in the crystallization of form, which stopped being an aprioristic concern in the design process.
All this thoughts triggered my interest in the concept of soft geometries, understood as geometric forms that have been altered, distorted and affected by concepts, situations, feelings, intuitions, physical experiences and perceptions.
The search for the collection of unregistered events from everyday life that render themselves invisible because of their familiarity becomes a component in the thinking of architecture.
From that field of raw perception we need to bring across these pure and innocent revelations that will affect our forms in unexpected and natural ways.
Maybe this is an enlargement of my earlier process and expressive form has become legitimate by responding to experience and observation of life.architecture, Concepts, geometries