- The solution
should evolve from the particular aspects of each project.
- There should
be no externally applied geometric or abstract design determinants.
- Each element
of the architectural design should be free to develop irrespective
of the aesthetics of the other elements.
would be a Sculptural Flow evolving from the project's functional
and expressive aspects.
Concrete is an incredible method of construction for creative
architecture. The most important aspect of its use, in the process
of actualizing an architectural design, is that the "Form Facilitates
Structural Strength." The concrete "shell" derives its structural
properties from its curved form. In this way, it facilitates the
use of free-flowing spaces and curvilinear forms, without the
structural and aesthetic limitations imposed by the use of standard
structural systems and natural materials.
It is my belief, however, that predetermined concrete structural
shapes, per se, should not dictate the spaces and forms of the
design solution. The structural shell aspect of sprayed concrete
construction actually allows the architect the ability to create
forms and spaces with an immeasurable degree of design freedom.
This freedom should be used to create environments and aesthetics
that are that much more creative in response to the functional
and aesthetic aspects unique to each individual project.
Neither do I think that the concrete spray, itself, should be
left as the finished surface. It should be considered nothing
more than a blank canvas to which an appropriate combination of
colors and textures can be applied to create the final aesthetic
effect. So just as the use of sprayed concrete facilitates a greater
freedom in creating spaces and forms, as "nothing but a blank
canvas," it also facilitates an immense potential for unique aesthetic
By using sprayed concrete, it was my design objective to create
residential designs that incorporated unique, freeform living
environments that were appropriate to the client's life-style
and personal preferences. For that purpose, a design format of
spaces, forms, colors, and textures would be developed specifically
for each individual client.
My design procedure began with a conceptual layout of rooms and/or
spaces that was responsive to the client's functional needs and
wishes. Then, it was my belief that the aesthetics and aesthetic
atmosphere of each room or space should be independently developed
based upon its particular function and desired atmosphere. As
each room or space would have different functional criteria and
appropriate aesthetic atmospheres, each room or space would be
free to develop in a way that was irrespective of the aesthetics
and aesthetic atmospheres of other rooms or spaces.
After each room/space was designed in this manner, they were connected
in accordance with the initial layout. The transitions from one
room/space to another would also to be given aesthetic consideration.
Then, and only then, was the Exterior Aesthetics developed. These
aesthetics were to be primarily an expression of the client and
his wishes. Secondly, they were to be an aesthetic response to
the site and its surroundings. As such, the criteria for the exterior
aesthetics was not the same as that of the interior aesthetics.
Therefore, just as each room/space would be designed irrespective
of the other rooms/spaces, the exterior was to be designed irrespective
of the interior design. This did not mean that there would not
be aesthetic interrelationship between all of these independent
elements, only that they would not be forced to aesthetically
conform to "inorganic" determinants.
Another aspect of using sprayed concrete for the exterior aesthetics
is the manner in which it can express the characteristics of the
project's site. With sprayed concrete, a new aesthetic reality
is achievable in responding to these aesthetics. Rather than duplicating
those elements, an abstract palette of forms, colors, and textures,
using sprayed concrete would not only allow the architect to aesthetically
connect to and be responsive to it, but would also enable him
to aesthetically transcend it. The point being is that new aesthetic
freedoms would now be possible to express the architecture's relationship
to its environment.
As far I am concerned, a virtually unlimited vernacular of creative
aesthetics is possible using the sprayed concrete method of construction.
As new technologies develop to increase the quality of its use,
it could easily become the predominant construction method used
by architects striving to create highly unique designs.
- My aesthetics
are freeform and sculptural, with the intent of a wild,
exotic, and exuberant expression of each project's unique
- Each project
would have an individual aesthetic vernacular that would
literally transcend its functional considerations.