The art of sculpting life
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The art of sculpting life...Some people often liken architecture to the art of sculpture. The reason for this trend in the analogy may be that the fourth dimension in the two constitutes an important element in the sensory experience of the product, in addition to the fact that both of them take care of the distribution of masses, proportions, and volumes, and weave from the solid masses an “art” that moves. The feelings and emotions of the recipient. But in my opinion, anyone who thinks that architecture only sculpts or creates mass is wrong. The truth is that in architecture,

the designer’s chisel does not stop only at the borders of mass, but extends to sculpting time, creating movement and rhythm and embodying the feeling of them in interesting and harmonious sequences, each of which creates a lasting impact on the soul. The architect does not deal with time as a given or negative element, but rather he creates a special experience from the material of time that is experienced by everyone who deals with the constructive product, both inside and outside.

Just as time in architecture, we sculpt light, light, and shadows, creating images with varying visual effects, each of which supports a unique emotional and emotional state under multiple lighting conditions. We often feel different feelings for the same building or even for the same space under different lighting conditions that the smart architect “sculpts” to give you.

Those unique experiences with a sense of place. Sculpture as an art in its entirety is about creating order from chaos and extracting value from diaspora, and it is not necessary that the matter be limited only to the tangible “material”, as that is one of the things that is subject to the chisel of the designer architect,


but it is not everything. There is another dimension that distinguishes architecture from sculpture, and I find it very important when talking about “honest architecture.” The basic test for honest architecture is the extent and quality of the spatial experience that people live and interact with, whether negatively or positively.

Inside the building before outside. I may not be exaggerating if I say that the architect carves a complete picture of life into the heart of the building, just like the oyster and the shell that protects it. Inside, there is a complete response and harmony with everything that constitutes the rhythm of the users’ daily life, while the outside is a true expression of that harmony and this rhythm, in addition to the influence of the surroundings
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