I have explained, and supported with evidence, the concern for rationality in construction and economy understood in, I dared to say, a cosmic sense rather than a financial sense. However, this is not the whole thing that has guided me. I have also been guided by a sharp, almost painful, awareness of form.
The resistant virtues of the structure that we make depend on their form; it is through their form that they are stable and not because of an awkward accumulation of materials. There is nothing more noble and elegant from an intellectual viewpoint than this; resistance through form.
Dieste's unique and innovative method of design, a melding of architecture and engineering, elevated these often humble buildings to masterworks of art.
There are deep moral/practical reasons for our search which give form to our work: with the form we create we can adjust to the laws of matter with all reverence, forming a dialogue with reality and its mysteries in essential communion... For architecture to be truly constructed, the materials must be used with profound respect for their essence and possibilities; only thus can 'cosmic economy' be achieved... in agreement with the profound order of the world; only then can have that authority that so astounds us in the great works of the past.
The comparison of forms raises questions and drawing can be employed as a wordless questioning of form; the pencil seeks to extract from the complex whole some limited coherent pattern that our minds and eyes can grasp. The probing pencil is like the dissecting scalpel, seeking to expose relevant structures that may not be immediately obvious and are certainly hidden from the shadowy world of the camera lens.