Scholarliness belongs to the spirit of this time, but this spirit in no ways grasps the dream, since the soul is everywhere that scholarly knowledge is not C.G. Jung in The Red Book
Emotion is an indefinable human trait. I have always found it hard not to believe that there is an entirely undefined but very real set of connections in the universe. Call it karma, ESP, Feng Sui or any of the myriad of attempted definitions that are out there. I find them separate but equally valid with science as we define it. To me science is simply the best theory we as a species have come up with to explain our universe and all of its connections. But in looking at and experiencing art; be it visual, musical, architectural, dance, we are exploring the interaction between the definable knowledge of science and the aura of our other senses.
I know that all of you have, at one time or another, felt comfort in just sitting in a room, perhaps by a warm fire, felt inspired by a drawing or painting and wanted to create, or felt the calm that a musical piece often brings. While all of these states can be rationally explained we all know that they are so much more than explanation can define. That is what I have always tried to bring to my architecture. I feel that overall I have been successful in doing so. What I have learned is that design should reveal itself slowly, with a sense of procession. That attention to how the building is experienced is critical. That allowing unexpected glimpses of daylight can foster a sense of arrival. This sense of arrival creates a strong sense of place. And that for me is what constitutes architecture as art. This is what connects all of the arts. I feel that with the object oriented art, architecture, and music that has come into vogue in the computer age there is much promise, but also the fear that the human and emotional elements might be forgotten. Because ration and intellect cannot create the awe felt at the Salk Institute by Louis Kahn , or the rhythm of the marching Blue Poles of Jackson Pollack across a multidimensional volume in the dripped field, or the final resolve that Phillip Glass gives us when finally the chord changes.