The design of objects and buildings is subject to the universal and irrevocable law of probability
Nothing will ever be discovered without breaking the chain of the predictable. Errors can’t be committed intentionally, so it is impossible to break the pre-established order. We have a clear idea of the aesthetic of chaos, and it seduces us with its indefinable quality, the impossibility of treating it as an argument, or of defining it as an axiom. A library can seem completely ordered on a visual level, but equally disordered in terms of its contents. Likewise with our thoughts. The mental order that we continually refer to is in reality an uncontrolled mass of emotions, yet we need it to avoid losing ourselves in confusion, unpredictability and abstraction. In many cases order is something that restrains, classifies and crystallises. It composes and conceals, preventing us from encountering hidden relationships or secret, improbable and irrational mechanisms. The world of the extremely small and the extremely big — which lies far beyond human comprehension — sends us messages of irrationality and improbability that seem to drive us towards a new way of understanding time, matter, life and death. The more our knowledge advances, the more critical the relationship between cause and effect becomes. We seem destined to search for the meaning of things with a disordered mental intensity that is still indefinable but increasingly distinct from artificial intelligence or from the product of manmade machines. It is almost as if the product of machines can only ever be banally logical, while the product of humans is unpredictable, abstract, chaotic and sensational — just like emotions. Chaos is the unknown, and it conquers us with the allure of the challenge, the unexplored, the endless pathetic and impossible attempt to impose human rationality as a universal law, yet always driven back by the evident existence of chaos. The design of objects, buildings, tools, symbols, shapes and places compels a continual comparison between order and chaos. It requires a constant management of opposites where the true universal and irrevocable law is simply that of probability, just as it’s probable that 1 + 1 equals 2. Probably. Chaos is a matter for design, not to be ordered but to be identified in its essence, to be enjoyed in its state of constant dynamism and flux. Chaos is a guarantee for the future, not because it is the origin of uncertainty and perils, but because of its intrinsic potential for transformation, evolution and surprise. On many occasions, fortuity produces the best results when we let ourselves go and presume to lose control of our reasoning — abandoning ourselves to chance, come what may, precisely when we’re not expecting anything more from ourselves. After all, the images that we create in our head are always directly related to external impressions outside our head, and it is these that lead the ballet of our imaginative and creative will. This is why it is fundamentally important to look around, observe and never withdraw. The more impressions we receive, the more images we create, and since impressions are always casual and unpredictable, so is the imagination which is consequently determined by the chaos that surrounds us. Chaos, wonderful chaos, the only rule of the universe.