At the first glance of Clark’s buildings, the
word chaos penetrated me.
Through the
representation of splitting segments and a sense of figure standing on a
demolished land in his work, the form appears to be a monster. This awkward
beauty reminds me of Aldous
Huxley in his Brave New World: “But I don't want comfort. I
want God, I want poetry, I want real danger, I want freedom, I want goodness. I
want sin.”
It
appears to me the real danger and the juxtaposition of traditional
architecture. Observing later architects such as Luis Kahn and Frank Gehry, the
bald usage of geometry penetrating the walls and asymmetric chaotic presentation
of sculptural forms can be linked to Clark.
They as a combination further arouse
the idea of embracement. It is the interconnections of different genres of art
and forms that brakes the constraints and generate the variety. And it is this
rebellion entanglement that sculptures the sometimes slight excitement and sometimes
real impact.
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