This Concept is not an hypothesis – nor a vague conjecture. All the basic points are well established as proven principles in their respective disciplines – but no one has cross-reference-assembled them into a descriptive theory of their evolutionary organising or formation. I would not wish to waste anyone’s time on reviewing my trivial personal opinions nor an amateurs ill-conceived ideas.*

THE THEORY OF FORM – Describing how Universal Existence is a product of a Design Strategy.

As the 20th-century was one of epic creative and destructive turmoil, it marked a decisive point in the development of Human Existence – now direct-effective in the course of Universal Evolution.

As first time on Earth, the atomic ‘stuff ‘ of Creation was purposefully re-made in accord with the new-found principles of Universal Formation – in transmutation of elements and genetic coding.

A ‘Universal Design Strategy’ was realised as applied but not yet understood nor described as such.

* * *

Then [1950’s] as regularly from before the 1920’s, ‘Modernist’ Architects operated at the highest intellectual and creative levels in engagement with the most imaginative minds in History. [It was a young ‘Architectural Association’ Architect, Michael Ventris, who just then [London -1953] deciphered ancient Mycenae Linear-B script

Since 1956 I have assiduously sought-out and collected those key-evidences (as shown in the discoveries of disparate-disciplines, as most have more recently emerged) to support a most radical and society-changing ‘Architectural’ conclusion – now presented as ‘The Theory of Form’.

* * *

‘Modernity’ was history’s most instant, comprehensive and radically transformative ‘cultural’ engagement’ – new-based on new understandings of fundamental principles of existence, as our world-leading scientists had then or have since revealed.

20th-century, a ‘Modern Revolution’ was technologically made world-wide effective. As such it was unprecedented – except for that Neolithic-age initial engagement. Ancient revolution made possible our present life-style, just as once again we have created a radical reformatory existence. So is there an operative link there – one we can now exactly define as a socially effective Design Strategy?

UK Art + Architecture was 40’s-50’s pursued in a pioneer-creative ethos of post-war reconstruction. Having survived that dire era of unprecedented man-made devastation, those most serious ‘cultural’ activities were recognised critical to shaping Humanity’s again-ongoing Civilised engagements.

1950’s London was decisive in its just-past ‘World War’ and a new ‘Cold-War’ location. The key issue was “How to re-build a Society that would eliminate need to again engage in destruction?” The 1951 “Festival of Britain” gave the Architectural lead in that post-war creating of a new-world environment. A positive culture ‘arose from the ashes’ in a practical ‘New Designed’ endeavour. (On it’s small ‘South Bank’ site it was soon demolished by an incoming government of a different political and social outlook. It’s innovative and inspirational “Dome of Discovery” + “Skylon” locator, recognised too dangerously radical, were destroyed‘. Only the ‘Festival Concert Hall’ remains of a ‘Phoenix Spirit’ that can yet be re-born).

That undertaking was well-set by ‘Kingston’-trained or teaching architects and its Head of Architecture. Those were at a leading edge in designing a social-architecture [Powell & Moya – Eric Lyons – Stirling & Gowan, Robert Maxwell]. As a ‘Bauhaus’ location, in my studies there I was privileged to explore, understand and participate in the evidently on-going ‘Modernist Revolution’: Le Corbusier – Vers une architecture. 1925′.

My final-year project was an urban-redevelopment. Proposed as radical-reformative it was received with a wide range of Popular Press interest and Industry Reviews. A special acknowledgement from the most respected ‘Observer’ Architectural Critic – Ian Nairn – encouraged my ‘constructive thinking’ towards resolving this ‘Formal Issue’ exactly as I present it here.

Historically developed, Art and Architecture were not trivial nor just ‘utilitarian’ pursuits – never conceived simply as productive of utility, profit, amusement or temporary distraction except as that facilitated it. Since that ‘Neolithic’ beginning those ‘aesthetic’ art-efforts produced the most advance products of the most advanced minds. Learned and painstaking applied in the critical organisation and advancement of society (quite obviously as so intended in Religious Architectures) pioneer or prototype developments were ever evolving appropriate well considered and culture-distinguishing ‘Styles’ – those as survive amaze and enlighten us, even ten millennia later.

1956, I had begun my practical training in the intimate offices of Britain’s leading Edwardian Architects – designers of Buckingham Palace Frontage – Admiralty Arch etc. Symbols of Western Learning and Authority were formed as Greek/Roman styled. Such Temple-Front Porticos were forcibly installed or accepted around the world – psychologically powerful in personal and social conditioning. Effective even today as symbol of Academia, Banking or Justice that Universal Archetype was also Logo-shaped as the original Neolithic-age ‘Men’s House’ – emblematical of an inviolate seat of supreme power [“White House” USA].

Art-pioneers of ‘Modernity’ were critically co-engaged with the most advanced of scientific understandings – in particular Relativity [Space & Time – Einstein, Picasso, Le Corbusier ] and Consciousness studies [Seeing & Saying – Loos + Wittgenstein]. Ref : my previous “Space-Cell Systems” Blog post.

Modern brain-consciousness studies are firmly based on those 1960’s pioneer discoveries of Sperry & Gazzaniga. As continuously investigated and detail-modified, the basic principles are endorsed by subsequent researches (but not those populist miss-interpretations of them, where most take-interest). That is why it is their speech/vision/consciousness studies that must be initially referenced as the now-extensive science literature does. The key-point they discovered is that of a bi-lateral operating asymmetry (seen universal evolved, well-evident in New Caledonian Crows) as inherently critical, necessary in the very different ‘geometric’ organisation of ‘space’ and ‘time’ experience, expression, operation and representation. ‘Nature’ science-papers regularly expand on that thesis – as the studies and investigations proliferate, advancing the product-promoting interests of commerce. [Why is Left-handedness made a Sinister or otherwise vulgar-disparaged attribute? Others more fortunate are Dexterous – some, even admired as ambi-Dexterous – but never so as ambi-Sinister!]

That forming origin of an irreconcilable organising duality had been discovered and described by Einstein. In 1905 as ‘Special Relativity‘ he conclusively proved [but did not recognise]“Space” has to be a 2-D configuration – a flat-planar metric [C2 ]. Universal absolute organiser of radiant form; a constant limiting condition of ‘light’ [radiation] is directly experienced via vision. Then, 1915, he (quite-separately) resolved the“Time” issue as demonstrably [1917] a spherical gravity-surface, as Universal conditioning metric [G] ‘General Relativity‘.

Neither ‘Space‘ nor ‘Time’ has substance nor volume as the Classical (and Minkowski’s) 4-D conception – but – as disparate geometrics they thus dynamically organise a quantum base-energy as it is then a productive space-time matrix.

Thus, those are basic but inherently irreconcilable geometric surface propositions as Architectures have and must ever accommodate and apply them in their organising effectiveness. ‘Modernity’ imposed a predominate spatial existence in planar limits – as 2-D surfaces – visually concentrating radical intellectual engagements, resolving crucial social issues raised in completely new scientific and technological realities. ‘Technology takes Command’ over everything and everyone – a Revolution without a manifesto. There was no ‘Theory of Form’ to consciously apply. Nor, seemingly, one yet? The few pioneer Modernists achieved that historic realisation – others could take-up the challenge via those pattern-prescriptions; but a crucial ‘Theory of Form’ was yet lacking.

So ‘Post Modernity’ came-in, in that way – via that prescriptive deficiency. Socially, culturally and economically aggressive, a counter-revolution soon most effectively imposed its ‘soft-power‘. [See CIA’s 1953 secret document (since 2003 declassified) setting out the US “Doctrinal programme”]. I witnessed that conditioning effort as instant installed at ‘Kingston’ 1960 – and as the ICA continued to well-promoted it.

Einstein never found an ‘Unified-Field‘ equation – a ‘Theory of Form’ that could have reconciled two (irreconcilable) descriptions as those thus separated base-elements of existence. Only because he accepted Minkowski’s established authority, in dictum that ‘space-time’ was a 4-D rectilinear continuum [as being Euclidean], he pursued that fruitless line of enquiry to his end. The solution, as Buckminster Fuller later suggested, is in a triangulated quantum-energy ‘jitterbug flip-flopping’. (Ruth Williams at Cambridge explored a 1960’s Regge-geometric [triangulated] Calculus). ‘Space-Time’ is now defined a vibrant-discontinuum – [see my “Space-Cell” Blog]. But finding a way of arriving at a ‘Theory of Form’ as effective applied in human engagements, remained unaddressed – except as in this analysis. None other seems even slightly-interested in a practical understanding of how everything is ‘designed’ – outside of sub-atomic physics. Watson & Crick were ridiculed by their ‘academic’ competitors for their amateur model-making and its ‘naive geometrics’ – but it was they who won through in that race to determine the structure of Life.

That DNA molecule inevitably applies those geometric base-principles – existence is only in its organised material formation.

Minkowski was obviously not familiar with ‘General Relativity’ nor ‘Quantum Mechanics’ – as later revealed. He died 1909, so could not take ‘Time’ as being directly equated with that non-Euclidean gravity-formed surface, as we all ‘daily’ experience it. So, why do all the science textbooks still record his four-dimensional connected space-time [clearly a Classical conception] as being the operative Relativistic condition? In obvious crystalline fixity, that now makes no sense of it.

Over decades past I have set-out this well-defined thesis (with its key-proving references), but it remains a confusing-issue for most. As Einstein said of Minkowski’s self-assured intervention “Since the Mathematicians got hold on it [Relativity] I no longer understand it myself”.

Because it is a Geometric proposition organisational of human dynamics, Architects are ever engaged with it in the ever ongoing multi-dimensional (space + time) purposeful integration of bodily-mobile human activity. Architecture demands and conditions life’s necessary mobile engagements as Civilisation collectively constrains or directs the ‘wanderings’ of everyone – as Neolithic-age settlement had first forcefully curtailed that “freedom” of the primal age.

As their operative medium Visual Artists (and writers) selectively use the contemplative, static [timelessly fixed], 2-D Universal picture-plane of the Drawing Board, the ‘page’, ‘screen’, ‘photo-graphic’ or ‘painterly surface’ of a ‘light’ projection [C2]. ‘Constructivists’ are ‘architectonic‘ as dynamic-viewpoint engaged – see Picasso-Einstein review, as footnoted in my Space-Cell Blog].

That planar conditioning directly concerns ‘Modernity’ – in Art and Architecture. The works that all ‘Modernists’ engaged-in are seriously conceived as socially and psychologically active concerns. Thus (intuitively?) they did take-on the new-found reality of ‘Relative’ existence. Those yet thinking the Classical misrepresentations will still be socially effective, are delusional – an ‘Atom Bomb’ has proven-applied those ‘new’ space and time dynamic conditionings, exactly as Einstein had re-formulated them. Classical Design Principles were static, conceived Eternal-permanent impositions.

As to the Neolithic revolution’s world-wide introduction of rectilinearity see the ‘Flannery + Marcus’ – “Men’s House” paper; also any comprehensive archaeological record of human constructive activity. Architecture, since its Neolithic-age first-forming, has been ‘Sacred Conceived’ as ‘Cosmic’ activity. Even today, that geometric forming remains well-evident as purposefully made, in the myriad of London’s Baroque Churches. [Ref; “Architecture in the Age of Reason” Emil Kaufman – 1951.]

Architecture was never simply a commercial Building Utility as is “Post Modern” conceived and imposed; the social-psychological effect of Architecture are ever paramount, ever operative, even as negatively in the grossness of commercial or totalitarian conceptions.

The most sacred site in Japan is yet pristine-maintained – every 20-years reconstructed as an ancient-styled Granary. Worldwide in agriculture, Barns were ever so-conceived. As others, my house in Sri Lanka had its traditional ritualised initiation – effective in its layout.

‘Form’ and its ‘Layout’ is Universally a fundamental propositioning – everything, along with all its common or unique properties and characteristics, exists only in-and-as its ‘special’ Form. Even “Smell” is in a “Shape” – unique-molecular formed, as it is thus sense-recognised – Colour a specific wave-frequency, as is Sound

In prehistoric ‘primal’ and contemporary nomadic society, it is ever the Women’s ‘sacred’ role to ritually erect and maintain that ‘living’ organic-rounded construction. However, the Neolithic-era imposition of the rectilinear ‘Men’s House’ forcibly reversed that key social role; although it was/is taboo for women to build, see or enter there-in the ‘Female Spirit’ is ever secret-ensconced inside, fundamental to its function.[Ref – Greek and any Universal Religion’s Temples]. Such is the base-conditioning power of ‘geometry’.

But, getting such a simple point across is the most difficult project. Most people want to be entertained or pleasurably confused with unsolved or endless repetitive riddles and puzzles as stress-releaving ‘complexity’ – diverted in quick-sound bites or relaxed, reassured with long-winded ‘Bulky Tomes’ of populist or specialist offerings. “Tell me what I already know or want to believe to be true – don’t confuse me with the disturbing facts”seems to condition us all.

Euclid’s Geometry is the learning-base that few now want to bother studying. It is unalterably complete in description of the foundation-principles of all organised ‘Form’. Even Corbusier had that study-deficit; he enshrined a fateful fundamental error into the organising of his ‘Modulor’ system. Being exactly Pythagoras-based geometry as is Special Relativity he could have resolved that known issue in his soon-meeting with Einstein. As they both had that same geometric-based ‘space-organising’ problem – its resolution would have made my work (their struggle) unnecessary!

Non-Euclidean geometry is a ‘misnomer’, as it takes those Euclidean principles to then arrive ‘mathematically’ at infinitely-small approximations; a ‘Calculus’ in its numerically ongoing conclusions to thus-make infinite a clearly finite but curvi-formal problem. The Pi and Phi-ratios thereby approximately fabricate and condition all integrating existences – as they are inevitably in a dynamic geometric-fusion in/as space-time. So every biological formation must entrain and apply that dynamic in its ‘living’ organisation. ‘Special Relativity’ radiant-exact as set-out ‘A Pythagorean Space Theorem‘ – ‘General Relativity’ simply ‘A Spherical Surface in Gravity-Time‘ – [Black-Hole Geometry]; each then interactive, that duality sets its limits to any material existence.

Our brain’s conjoining Corpus-Callosum ‘decides’ for us which ‘viewpoint’ to take (or ignore) – via that spatial or temporal logic-gateway – to thus selectively arrive at those very different-based conclusions. Sperry and Gazzaniga’s patients revealed that as the operative condition, in all of us.

Art, Architecture and Urbanism are made as and from those primary geometric conditioners of ‘thinking processes’. As so-constructed, visual [flat-planar-form] or aural/oral [curvi-planar-form], are ever conditioned in a ‘Civilised’ society. Hence every religion’s ‘bureaucratic monumentality’ derives from a fixed-rectilinear origin, an iconic ‘Men’s House’. A collective ‘entertainment-form’ is active in ‘Colosseum’ en-circlings ‘The Tribal Dancing Grounds’. [ Westminster Abbey V St. Paul’s Cathedral – the City of Westminster’s Regal Government V City of London’s Corporate Commerce].

When so-addressed these ‘Constructive’ conceptions are every-day obvious – but now ever dismissed by the majority as being “too complicated” to even consider bothering-with!

However, as world-history and recent dire events record the political ramifications of ‘Cultural Modernity’ are quite a different issue – as it was/is encouraged or rejected, everyone has an opinion!

As my engagement with the issue of defining the origins of Architecture began mid-50’s, the authoritative History Books then (yet) dismiss all ‘constructions’ prior to those monumental heights of the great Civilisations, as just crude mud–wattle huts. Thus unworthy of any serious academic attention except in the aside-curiosity of archaeologists (who generally agree with that analysis of those most ancient artefacts), ‘stone tools’ [neo-lithic v neo-architonic] get a more studied respect.

I’m asking that a serious regard be given to how those Arts and Architectures operate; as works of ‘Modernism’ are equal-to or even more effective than science or industry in everyone’s constant engagements – so progressing Universal evolution. The Natural purpose (pre-installed in Life) is as we have seen it; the inquisitive troublesome individual makes radical discoveries – as those become accepted, common-place, they are transformative as the mass-collective then applies them.

Civilisation everywhere was Architecture-Constructed. A ‘House’ human-made permanent, as cyclic agriculture gave its temporary variable nature-support to thus arrive at our recent Enlightened Time. [Now ‘Factory Farming’ is made as Timeless as possible – away from diurnal or seasonal cyclic bio-effective change]. In its essence Civilisation cannot survive in that gross level of enforced depravation, unnecessary basic indignity now any ‘Home’ is made practically unaffordable for most.

Just look-around to see the unprecedented problem ‘Post-Moderism‘ has given to us to try to resolve – Earl’s Court – Elephant & Castle – Battersea Nine-Elms – Grenfell Tower – Balfron Tower – even as Chelsea Barracks Development! Those are just some local, well-evident examples – left as multi-billion Pound economic and territorial ‘black holes’, they suck the life-energy from society.

Applying this ‘Theory of Form’ has become essential. ‘Modernists’ tried to grapple with that ‘Space-Time’ enigma – and intuitively resolved it at the same time and same geometric-way as Einstein revealed it and ‘Cubism’ confronted it. “Post-Modernism” in “Learning from Las Vegas” force-rejected that encountering with reality as Jeff Koons work celebrates a ‘victory’.

I ask your close consideration of these most basic concerns. Here I only make-note of the key-references – detail evidences I try to condense into very short statements so as not to bore the readers, too much – but already in our collective endeavours the internet gives instant access to the wealth of knowledge.

So I thank you for spending your time on this issue.

  • Although my initial interest and knowledge of contemporary ‘Brain Studies’ was immediate on mid-60’s publication of the Sperry research findings, ever since then I’ve kept in touch with developments – in part, over recent decades via a contributing presence at the highest-level International Conferences on Consciousness Studies. Those are regularly organised by the world-leading academic authority in that field of enquiry – the University of Arizona. As I’ve generally been the only Architectural presence among a conference gathering of Nobel Prize winners – as mathematicians, physicists or neuroscientists – my visual-based input is not so easily appreciated by others there.


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