10. If at the logical and geometric level we dialectically combine concepts, and our mind perceives this connection as logical, integral and therefore beautiful, then at the visual-geometric and material–architectural level it will be artistically logical, integral and beautiful.

11. A geometric architectural form is capable of expressing concrete mythological and abstract verbal meanings, internal energies and events of the human soul. Three–dimensional forms can be expressive sculptures of verbal and emotional, intellectual and heartfelt notional beliefs of a person.

12. The dialectical principle of architectural composition is not to create different things from things of the same type, but to create the whole from different and opposite ones. The composition then is not limited to overcoming of the monotony of standardization, but encompasses the completeness of the combination (synthesis) of heterogeneous forms into a single whole. The dialectical architectural form is a synthesis and a birth of the synthesis of its opposition parameters, which unfolds in the space.

13. The method of architectural morphogenesis based on the dialectical triad ensures the connection of the parts of the composition into a logical whole, consciously or unconsciously interpreted at the visual level as a special consistency and expressiveness of the form. The spontaneous form-generating environment, structured by the counterpoint of dialectical logic, reaches the level of a logically constructed expressive three-dimensional form.

14. The verbal–associative method wakens an active form-generating fantasy. The primary images generated by it and structured by the architectural dialectical method become a source of generation of fundamentally new compositional three-dimensional solutions.