Discovering Aesthetic space 

There is noting as dreamy and poetic noting as radical, subversive and psychedelic as mathematics."There couldn't be a simultaneously  precise and lyrical quote to lend prespective to the work of Dr Haresh Lalvani. Dr lalvani who is described as a visual mathematician, architect, inventor,morphologist, sculptor and professor, has been developing what he calls "a morphological genome that encodes potentially all forms of design application." What this means is that Dr Lalvani, over the last 30 years, had worked to create a genetic code of shape/ forms. He arrived at this idea through the relation ship between the numbers and shapes. Numbers generate shapes. Taking that basic correlation, Dr Lalvani created a shape code based on sequence of numbers that could generate a broad range of forms. These forms were similar and yet dofferent- like a snowflake. One body of work that illustrates this his series called "Morpihng platters" In these series Lalvani employes what he calls a Lautomaton to create a broad set of platters, where within it's  

perimeter, which remains constant, various patters are generated through changes in the relation ship between lines, curves and angles, much like in nature and genetic theory. Lautomaton is the process of generating patterns where just a single variable, for instance , the lengths keeps changing. Patterns both discernible and chaotic take shape. The result is that each platter is unique. The implications of the morphological genome and the resulting physical pieces function on an aesthetic level, as art while pushing our understanding  of these objects in it's broad implication on future of sustainable mass digital production and customization This is a huge deal when we think about how it will change the way we think of building materials and architecture. It means that on a mass scale, people will have access to a process where they can choose a  combination of numbers based on whatever they fancy and actually create something that is unique- be it platters of their home. Dr. Lalvani's innovations are essentially an intersection of mathematics, Science, technology and art. They are patented inventions that resulted in both, a functional and an aesthetic object, fabricated in laser cut steel. The designs have been created based on a collaboration with Milgo-Bufkin,  the art- metal  fabricators who have worked with artists such as Richard Serra, Donal Judd, Sol Lewitt and  Frank Stalla  to name a few. Each piece in my mind also resonates at the philosophical and spiritual level to the individual whose existential conundrums might possibly be understood through a new lens. Dr. Lalvani devlves into  lot of existing  philosophies and  scientific  conclusions on the oneness of  life. That all things, however different, originate from a singular oneness. Be it at the eve of Africa  or the example used to illustrate  Brahman. A striking  example  illustrating the concept of "difference in oneness" in relation to  Brahman is it's likening  to  the light of an oil lamp covered with a clay pot full of holes of varying sizes. The light that comes out of each hole travels a distance and has a different intensity depending on the size of each hole . All the they are all the same , having emanated from this one source. It would seem that science and faith are finding ways to explain the human condition and  our relationship to the environment and the cosmos. It is predominant interpretation I took away from the work of Dr. Lalvani in particular s current installation in NYC"SEED54"

"SEED54"  comes from further discoveries made within mathematical systems that have been applied in creating new ways of  material production;  steel to be specific. Dr Lalvani discovered a system called  "Hypersurfaces" , which is described as a "new mathematical class of surface subdivisions that combines aperiodic  tiling patterns with any curved surface.  SEED54 is part of this series of worked when curved steels with perforations on it's surface, deduced by the mathematical system, stands in the form of  a seed slightly floating  above the planter on the side street in New York. Dr. Lalvani's works invigorates an interesting space which effortlessly ties in the aesthetic and philosophical  underpinning of his discoveries and inventions with that of literal functionality. "SEED54"in it's perforations , through which you see a distorted citysscape represents a man-mad edifies that follow the rules set within nature instead of hampering it. Its art and architecture that reflects rather than imposes on our natural resources both in it's  idealistic aspirationsas well as in it's literal production. 

New media theorists and philosopher Boris Groys has elaborated  upon the art of existing within the space of the public in a manner that neglects its tag of "art"in it's most elitist exclusionary context. That art must be something that already exist within the world without it having to be  defined within certain parameters by a few. With the invention of morphological genome and the resulting set of works such as "morphing platters"and "hypersurfaces", Dr lalvani illustrates the in which material can be manipulated to create mass customization . "Art" can be created by anyone in the open source way that reflects the idea of uniquenessin difference. This is quite epic.