Ice Flow . . . On the road in North American.
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One of my primary concerns is how form emerges out of movement.
I like to think of this as an essentially musical point of view.
(After all, music is at once the most abstract and yet the most
direct experience of movement we know.)
At the same time, we can look at form from the designer's
or architect's point of view. Then we see the inner workings of
structure, and the different species of movement these suggest.
Both the musical and the architectural points of view go together
beautifully, it seems to me,
Flow . . .
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