Blog
Ornament
Architecture should evolve from and express its environment in addition to expressing its particular function and creation. Ornament should not be based on precedent but rather geometry and stylized forms of nature. Architecture is as much about the Nature and the social spirit as it is about building buildings.
Humans have a biological or evolutionary predisposition for ornamentation, and considering all pleasures as biological, in which ornamentation is a natural and preferred state. Biophila is a term that has stuck with me, which describes our instinctive preference for natural forms. Historically, ornament has appealed to nature whether by applying the laws of nature (such as symmetry, proportion, and directionality) or attempting to imitate it. I became more interested in the process of how forms in nature emerge more than what they resulted to be. I have discovered that natural tendencies in the generation of form do not only exist for individual organisms but also complex systems, such as ecologies and urban environments.
In all cases, form is generated through a stepwise process of evolutionary transformations. Aesthetics is not applied, but emerges from a process. Architecture of this condition is not reducible to an object, but rather a set of relations. When seeing ornamentally, every piece created should connect to its immediately larger and smaller substructure, establishing a total environment. Such a step-wise process requires improvising from the preceding step.
That’s where I found creativity and imagination to be essential not just for the creator, but for the viewer as well. Every time one looks at a space he or she unconsciously assesses its safety and utility. The more complex an environment, the more resources there are to assess and potentially benefit. Accordingly, an ornamental space can provide more abundant resources than an entirely ‘blank’ space from which patterns can be recognized and used as a basis for the ability to make predictions and form expectations. Consequently, it should be encouraged to adorn the world through a variety of different temporal and spatial scales. Ornamentation, thus, can promote pattern-forming abilities that help increase the capacity to be aware of the scalar information and create connections.
Instead of beginning a drawing or design with a predictable outcome, I attempt to construct spatial relations by situational associations, or local conditions. This open-endedness in the generative process introduces an element of risk. There is not a guarantee as to what the outcome will be. Today, much of the environment is designed to say ‘everything is ok’, and society’s perception of the world remains unaffected. The trend of reducing risk and increasing efficiency has also resulted in the decline of imagination and intuition as a human condition. For this reason, Architecture should do less of trying to predict how users will interact with a space, but rather produce offerings or fragments of what might make sense and challenge the viewers to interpret or question its meaning. I challenge the fact that architects should produce a definite final object, but can rather something open and incomplete as a way to inject spontaneity and unpredictability into the world.
Tetractys
The Tetractys, an ancient symbol of Pythagorean origin, is a representation of the order and divine nature of the cosmos. The lines and points that make up the symbol each hold significant meaning, depicting the process of creation and the manifestation of existence made up of mathematical principles. Overall, the tetractys was an important symbol that represented the Pythagorean belief in the harmony and unity of the universe and the importance of geometry in understanding the world.
Beginning at the divine Oneness, represented by a single dot or monad, the Tetractys splits into duality, symbolized by a line connecting two dots or a dyad. The next stage of creation is the formation of a surface or plane, created by connecting three dots or a triad. Finally, the Tetractys culminates in the formation of four dots, which enable the creation of a tetrahedron - a three-dimensional figure that can hold volume - representing the manifestation of existence.
The nature of things is distinguished by the void, and every idea is said to be one when considered in isolation. However, when ideas are considered in conjunction with others, they become two, three, or four, with form and idea becoming inseparable.
In the grand order of the universe, nothing occurs without relative reference to the cosmos. The notion of separation is illusory, as everything is interconnected and interdependent. In our search for fundamental and enduring patterns, our pattern language serves as our interface. While spacetime is merely a dataset, consciousness is the infinite fundamental. Science and spirituality can guide us towards a deeper understanding of the infinite.
The concept of the Tetractys and the interconnectedness of all things is highly relevant to architecture. As architects, we must consider not only the physical structures we create but also their impact on the environment and the people who interact with them. The principles of order and balance that the Tetractys represents can be applied to our designs, as we strive to create spaces that are both functional and harmonious. By recognizing the fundamental patterns that underlie the world around us, we can create buildings and structures that not only serve a practical purpose but also contribute to the flourishing of society and the environment.
On Reading and Writing
Writing, for me, is a way of creating and reflecting. I don’t write to explain or solve, but to think through my work. When I draw, I sometimes feel distant from the process, but in writing, I am fully present, conscious of each thought. It’s also a way to grow as a creator. I write for one person—if my words impact just one, that’s enough to inspire me to keep working.
Words and forms have different roles. Words carry history, while forms can be new and unburdened by the past. Writing, though, helps me bridge the gap between the abstract realm of forms and the physical world. It grounds my ideas and connects them to reality.
Reading classic literature is essential to my process. These works, whether philosophical or narrative, offer timeless insights into human nature, truth, and beauty. Engaging with authors like Emerson, Goethe, or Tolstoy allows me to think deeply about my own ideas. Classic literature challenges me to slow down, reflect, and connect with the larger conversation of human thought. In a time dominated by efficiency and practicality, these texts remind me of the deeper, more philosophical dimensions of design and creativity.
By reading the classics, I gain perspective that informs my work, helping me infuse meaning into what I create. They remind me that architecture and art aren’t just about function—they’re about engaging with ideas that transcend time.
Much of today’s architecture is driven by economics and efficiency, but I believe in the fundamental ideas of Form, Nature, and Order. These universal concepts shape my work and distinguish true Architecture from mere building. History, much like literature, offers a cycle of ideas to draw from. As Emerson said, “All history can live within.”
In both reading and writing, I find opportunities to inhabit other perspectives and grow as a creator. Through this ongoing dialogue, I learn not just to produce, but to think, engage, and share what it means to live in a world shaped by both ideas and forms.
