The design research community is beginning to recognize the organizing capacity of form as a scientific method of its own right. The aim of this study was to a) develop a pedagogically framed case study method that applied a participatory action research approach and b) create a 3-D form model bridging geometric- to organic structures. A 10-step-concept-translation-form method was developed which resulted in a “Evolution of form” model with two axes: The first horizontal axis presents a sequence of geometrically derived forms that gradually take on organic qualities of convexities and concavities. The second axis expands the model in a vertical dimension to include a bipolar spectrum at each stage. This vertical dimension opens up a dichotomy between congruent and incongruent properties in relation to original features of the geometric form.

The discussion deals with the active formgiving process; the need for sculptural awareness and the inner sense of form; validity of the created method and model and finally the pros and cons of aesthetical abstractions that build on geometric references.

This book aims to strengthen an understanding of the sculptural possibilities of form and space through developing a taxonomy and structure that recognizes and gives priority to the 3-dimensional perception of form and space. It is written so as to apply to both the active process of shaping 3-D form and space and analyzing any existing visual situation. Teaching in the Department of Industrial Design (ID) at Konstfack has given me great opportunities to further develop and document this visual study program. Using clay and paper models the students creatively question the "established terminology" and develop solutions that strengthen and/or add new concepts to the program.

The foundation of this language is derived from the inspiring courses conducted by professor Rowena Reed at Pratt Institute in New York City and also in private Soho classes. Rowena Reed´s method of visual analysis taught her students to "think with their eyes" and to translate an inner vision into concrete experiences. Her challenging way of teaching combined creative exploration with an analytical search for the "Principles of visual relationships".The last pages of this book are dedicated to summarizing her background, philosophy, and educational vision. Moreover, in order to gain a historical perspective, a map is included that outlines the relevant art movements in the beginning of this century and some of the major events in the early work of Rowena Reed and her husband Alexander Kostellow. The Russian constructivist movement is the point of origin for the artistic tendencies and formal language developed by Reed and Kostellow and further developed in this book by Akner Koler.

The authors use new aesthetic criteria concerning structures and properties to explain parallel concepts within theoretical astroparticle physics and contemporary form/compositional research. These aesthetic criteria stem from complex curvature models developed both in string theory and in artistic perceptual research on transitional surfaces and concavities. The authors compare the complex curvatures of the mathematically derived Calabi-Yau manifold with one of Akner Koler's sculptures, which explores an organic interpretation of the looping curvature of a Möbius strip. A goal of the collaboration is to gain experience and insight into the twisting paradoxical forces in the 3D world and to explore the properties of transparency as applied to the Calabi-Yau manifold and a point cloud translation of Akner Koler's sculpture.

Through a cross disciplinary study involving artists, physicists, designers and architects exploratory experiments are conducted on the theme complexity and transformation. The aim of the experiment was to lift aesthetical reasoning into a dynamic and inclusive way of working that involve the participant. The model process based aesthetics is presented here which proposes a balance between event and artifact. A central concept within this model is aesthetical phase transition which was developed through results from empirical studies of degenerative material transformation. Concluding thoughts concern how creative industry can become more innovative by recognizing the importance of an aesthetical consciousness at all levels of development. 

The cross-disciplinary project on Complexity and Transformation was summarized in the form of an exhibition, exploratory laboratory experiments and a dialogue lecture series.

The spatial staging of the project´s activities provided an alternative, holistic method for bringing together a diverse number of exploratory and experimental studies. The project was organized through Konstfack and Albanova at Stockholm University in collaboration with Chalmers University of Technology in Göteborg, Smart Studio at the Interactive Studio and the Royal Institute of Technology in Stockholm.

The final spatial staging presented a selection of concrete laboratory exercises, film clips from video documentation during workshops as well as recorded interviews giving insight into individual interpretations from the project participants. In parallel, there was a seminar series with lectures and open discussions.