Einar Thorsteinn had a formal education as an architect, and this domain's pursuits within aesthetics and mathematics also characterized his career, although the way he pursued these two areas is far from traditional. Thorsteinn was a pioneer of experimental architecture, creating a dome-cube system, sustainable constructions and ecological buildings. While his work had a practical outcome, much of his research was also on the theoretical definition of space, and how the human mind perceives reality. These theoretical approaches led Thorsteinn from architecture to art. But the developments within art and architecture over the past 30 years have also brought these two fields closer together, so that today it is not always easy to define where architecture stops and art begins. Whereas art may seem theoretical and opposed to the reality of architecture, Thorsteinn believed that reality is as plural as theory, and that aesthetics is not only to be found in the visuality of art, but also in the mathematics of architecture and geometry.
Olafur Eliasson on Thorsteinn:
"For me, Einar's particular talent was his ability to see a space within his head, to imagine complex polyhedral volumes and spherical shapes. He was a virtuoso in making that space explicit to others through analogue drawings and models, without the aid of digital tools. Einar's spatial thinking was not rationalized or reduced to the pragmatic considerations of modern architectural, rational, or spatial regimes. In my opinion, Einar's approach represented a robust critique of the modern spatial hegemony that limits and numbs our senses, restricts our experience of space."
The Green light geometry resulted from a continuation of research begun by R. Buckminster Fuller, and was part of the numerous geometric studies Eliasson and Thorsteinn undertook at the studio in Berlin. To come to the geometry of Green light, two identical cubes are rotated along a common diagonal axis until the edges on both cubes are divided according to the golden ratio. Drawing lines where the cubes' faces intersect (and cutting away the rest) leaves you with the form of the Green light module, a polyhedron composed of twelve triangular faces.