"When I personally have some architectural problem to solve, I am constantly . . . faced with an obstacle difficult to surmount, a kind of "three in the morning feeling." The reason seems to be the complicated, heavy burden represented by the fact that architectural planning operates with innumerable elements which often conflict. Social, human, economic and technical demands combined with psychological questions affecting both the individual and the group, together with movements of human masses and individuals, and internal frictions Ð all these form a complex tangle which cannot be unravelled in a rational or mechanical way. The immense number of different demands and component problems constitute a barrier from behind which it is difficult for the basic idea to emerge . . . I forget the entire mass of problems for a while, after the atmosphere of the job and the innumerable difficult requirements have sunk into my subconscious. Then I move on to a method of working which is very much like abstract art. I just draw by instinct, not architectural synthesis, but what are sometimes childlike compositions, and in this way, on this abstract basis, the main idea gradually takes shape, a kind of universal substance which helps me to bring innumerable contradictory component problems into harmony."
"When I personally have some architectural problem to solve, I am constantly . . . faced with an obstacle difficult to surmount, a kind of "three in the morning feeling." The reason seems to be the complicated, heavy burden represented by the fact that architectural planning operates with innumerable elements which often conflict. Social, human, economic and technical demands combined with psychological questions affecting both the individual and the group, together with movements of human masses and individuals, and internal frictions Ð all these form a complex tangle which cannot be unravelled in a rational or mechanical way. The immense number of different demands and component problems constitute a barrier from behind which it is difficult for the basic idea to emerge . . . I forget the entire mass of problems for a while, after the atmosphere of the job and the innumerable difficult requirements have sunk into my subconscious. Then I move on to a method of working which is very much like abstract art. I just draw by instinct, not architectural synthesis, but what are sometimes childlike compositions, and in this way, on this abstract basis, the main idea gradually takes shape, a kind of universal substance which helps me to bring innumerable contradictory component problems into harmony."
ReplyDelete— Alvar Aalto