Escapes
For a long time, the vocabulary of my work has been built on the tools and languages of architectural geometry. Through the blog chapters of Algorithms, Discourses, Studios, and Fabrications, my days are spent on this production. Yet, as time passes, a quiet friction begins in me. There is a distinct difficulty that comes with living entirely within symbolic systems, languages that measure, calculate, and optimize. I strive to capture complexity through code, but in doing so, I sometimes stop the very spontaneity that gives creation its chance.
The Sanctuary
This is why I am opening a new chapter on the blog: Escapes. Escapes is not a departure from what I do; rather, it is its necessary counterpart. It is a quiet room out of the digital architecture, a place dedicated to music and drawings. At first glance, a classical guitar or a blank sheet of charcoal paper might seem to have nothing to do with computational geometry. But when I look closer to the discourses, the boundaries begin to blur. Consider a guitar tablature. Is it a low-level machine code for human fingers? The entire music theory is similar. Both coding and music-making are acts of translation. One constructs digital forms through syntax; the other generates meaning through vibration and time.
What to Expect
In this category, alongside old guitar recordings and their corresponding tabs, I will be exploring the philosophy behind these practices. It will be a step away from the terminal, put down the parametric slider, and listen to the result of another kind of code.
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