Kamran Afshar Naderi · Memar 9 · Summer 2000

Kiasma Museum of Contemporary Art, Helsinki, Steven Holl. Contrast of order and disorder.

In the previous issue we looked into creativity and its different aspects. The most important point to be considered from the very beginning of our discussion was that creativity, in spite of its innovative aspect and despite the fact that it results in things that never existed before, is a process and like any other process it has its own techniques. Moreover, we looked into the conceptual framework of the process more than anything else and showed that creativity is a kind of a complex mental activity produced by imagination and invention, each of them having their own specific factors and process. In this article we would investigate the last stage of creativity, which is generation of form.

Of course I don't consider form as being irrelevant to structure and to the construction logic, rather form in its broad meaning which covers the space, structure, material and the texture. Form in the architectural terms is a set of geometrical reforms that gain objectivity through construction materials and it is natural that potentially the possibility of creating new forms is unlimited. Let alone the apparent variations of the form, the techniques which produce new forms are not multitudinous. In the history of architecture, very rarely, such techniques come into existence that basically change the method of approach to the form.

Today, the architects are after exploring the potentials of complicated geometrical disciplines like Fractals, Moebius, Topology, etc. The new geometry has so effectively shown that form is not just a container but also it deals with the organization of space and is a system of movement and perception of the space. It is for this reason that the techniques of creativity are mainly related to the discussion of form.

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