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The totality of the works constitute a coherent whole through internal relationships and repetition. The system of processes consists of a duality of geometric ideas (shapes and plans) and physical objects that originate from these concepts. Unlike the shapes, the plans have a certain scale because architectural elements are inherent to them. More specifically, entrances, passages and stairs would direct the movement and the field of perception of the person in each self-contained fictive plan.
In the beginning, the system was first applied to two shapes that surfaced. They generate new plans and shapes by the use of fragmentation and geometrical transformations, such as mirroring, rotation and scaling.
When formal concepts are transformed into physical objects, they obtain certain formal properties concerning scale, size, material, location and placement. By creating formal oppositions a field is constructed in which precise possibilities become substantial. On the one hand this implies infinite formality concerning scale, size, material, location, and placement, on the other hand, concrete objects and processes are extracted from this method. The processes and experiments that make a work specific and ʻexistentʼ create certain interpretations, expressive elements or even narratives within the work. It is not my intention to point those out, but rather to look at the consequences of them.