As Friedman often argued that coincidence in the process of development would yield to beauty and esthetic value, it would be easy to assume that Friedman was distancing himself from the role of artist, from determining what visual quality is. But that is not the case. He terms the creation of space using flexible structures ‘the esthetic of randomness’. In that respect he compares himself to the Chinese and Japanese; they were already expressing their fascination for this principle in visual art many centuries ago.
The forms eventually generated by Architecture Mobile, are the result of this built-in factor of randomness. The resulting shape expresses the needs, wishes, and choices of the occupants. The aesthetic pleasure for Friedman lies in analyzing this result. This for him is the coded message he receives from others.
On the other hand Friedman has produced art for his own pleasure in meaning and esthetics.
Related projects and studies
–Ville Spatiale , scale of the concept, 1958-1962
–Pictograph Art, 1974
–Art in the street, 1975
–Lycée David d’Angers, 1978
–Hill of the Faiths, 1990
–Amorphous Architecture, 1994, 2009
–Tall Building Esthetics, 1997
–Musée de Rue, 2004
–Musée des Graffitis, étude, 2006
-Artwork (I), (II)