Architecture Beauty Quotes

What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty.

It is perhaps when our lives are at their most problematic that we are likely to be most receptive to beautiful things.

It is in dialogue with pain that many beautiful things acquire their value. Acquaintance with grief turns out to be one of the more unusual prerequisites of architectural appreciation. We might, quite aside from all other requirements, need to be a little sad before buildings can properly touch us.

First, Lord: No tattoos. May neither Chinese symbol for truth nor Winnie-the-Pooh holding the FSU logo stain her tender haunches. May she be Beautiful but not Damaged, for it’s the Damage that draws the creepy soccer coach’s eye, not the Beauty. When the Crystal Meth is offered, May she remember the parents who cut her grapes in half And stick with Beer. Guide her, protect her When crossing the street, stepping onto boats, swimming in the ocean, swimming in pools, walking near pools, standing on the subway platform, crossing 86th Street, stepping off of boats, using mall restrooms, getting on and off escalators, driving on country roads while arguing, leaning on large windows, walking in parking lots, riding Ferris wheels, roller-coasters, log flumes, or anything called “Hell Drop,” “Tower of Torture,” or “The Death Spiral Rock ‘N Zero G Roll featuring Aerosmith,” and standing on any kind of balcony ever, anywhere, at any age. Lead her away from Acting but not all the way to Finance. Something where she can make her own hours but still feel intellectually fulfilled and get outside sometimes And not have to wear high heels. What would that be, Lord? Architecture? Midwifery? Golf course design? I’m asking You, because if I knew, I’d be doing it, Youdammit. May she play the Drums to the fiery rhythm of her Own Heart with the sinewy strength of her Own Arms, so she need Not Lie With Drummers. Grant her a Rough Patch from twelve to seventeen. Let her draw horses and be interested in Barbies for much too long, For childhood is short – a Tiger Flower blooming Magenta for one day – And adulthood is long and dry-humping in cars will wait. O Lord, break the Internet forever, That she may be spared the misspelled invective of her peers And the online marketing campaign for Rape Hostel V: Girls Just Wanna Get Stabbed. And when she one day turns on me and calls me a Bitch in front of Hollister, Give me the strength, Lord, to yank her directly into a cab in front of her friends, For I will not have that Shit. I will not have it. And should she choose to be a Mother one day, be my eyes, Lord, that I may see her, lying on a blanket on the floor at 4:50 A.M., all-at-once exhausted, bored, and in love with the little creature whose poop is leaking up its back. “My mother did this for me once,” she will realize as she cleans feces off her baby’s neck. “My mother did this for me.” And the delayed gratitude will wash over her as it does each generation and she will make a Mental Note to call me. And she will forget. But I’ll know, because I peeped it with Your God eyes.

In the architecture of their life some may display Potemkin happiness in view of hiding the dark features of their fair weather relationship, preferring to set up a window dressing of fake satisfaction rather than being rejected as emotional outcasts. ("Absence of beauty was like hell")

We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.

Italian cities have long been held up as ideals, not least by New Yorkers and Londoners enthralled by the ways their architecture gives beauty and meaning to everyday acts.

A classic,' suggested Anthony, 'is a successful book that has survived the reaction of the next period or generation. Then it's safe, like a style in architecture or furniture. It's acquired a picturesque dignity to take the place of its fashion.

The most incredible architecture Is the architecture of Self, which is ever changing, evolving, revolving and has unlimited beauty and light inside which radiates outwards for everyone to see and feel. With every in breathe you are adding to your life and every out breathe you are releasing what is not contributing to your life. Every breathe is a re-birth.

We are the bones of this city, the heart, the womb. The hidden structure and architecture behind the beautiful facades. We are unseen yet leaned upon, vessels yet not empty, the home for our families. The hopes of our city are thrust upon us, and we will be punished if we fail.

It is in dialogue with pain that many beautiful things acquire their value.

Endeavoring to purchase something we think beautiful may in fact be the most unimaginative way of dealing with the longing it excites in us, just as trying to sleep with someone may be the bluntest response to a feeling of love.

Beauty is a promise of happiness.

The allure, huh?” “I’ve learned a few things about castle architecture over the years.” Liv wraps one arm around my waist. “The allure is a passage behind the parapet of a castle wall. Great for defense when the enemy is approaching. You know you’re safe on the allure.” She tucks her head beneath my chin, twining her hand with mine. “Like we’re safe with each other.” “No doubt about it, beauty.” I press my face against her sweet-smelling hair. “You’ll always be my allure.

Building becomes architecture only when the mind of man consciously takes it and tries with all his resources to make it beautiful, to put concordance, sympathy with nature, and all that into it. Then you have architecture.

While a common reaction to seeing a thing of beauty is to want to buy it, our real desire may be not so much to own what we find beautiful as to lay permanent claim to the inner qualities it embodies. Owning such an object may help us realise our ambition of absorbing the virtues to which it alludes, but we ought not to presume that those virtues will automatically or effortlessly begin to rub off on us through tenure. Endeavouring to purchase something we think beautiful may in fact be the most unimaginative way of dealing with the longing it excites in us, just as trying to sleep with someone may be the bluntest response to a feeling of love. What we seek, at the deepest level, is inwardly to resemble, rather than physically possess, the objects and places that touch us through their beauty.

There are some parts of the world that, once visited, get into your heart and won't go. For me, India is such a place. When I first visited, I was stunned by the richness of the land, by its lush beauty and exotic architecture, by its ability to overload the senses with the pure, concentrated intensity of its colors, smells, tastes, and sounds. It was as if all my life I had been seeing the world in black and white and, when brought face-to-face with India, experienced everything re-rendered in brilliant technicolor.

Beauty, then, is a fragment of the divine, and the sight of it saddens us by evoking our sense of loss and our yearning for the life denied us.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

The library looked as it had always had: dim, cavernous, achingly beautiful in its ancient stone architecture and endless corridors lined with books. And totally silent.

It became obvious why Catholics had built such beautiful cathedrals and churches throughout the world. Not as gathering or meeting places for Christians. But as a home for Jesus Himself in the Blessed Sacrament. Cathedrals house Jesus. Christians merely come and visit Him. The cathedrals and churches architecturally prepare our souls for the beauty of the Eucharist.

A feeling of beauty is a sign that we have come upon a material articulation of certain of our ideas of a good life.

...the truth of the maxim that beauty lies between the extremities of order and complexity.

All this "honest work" kills beauty in man too. It forces men into poor diet, poor choices, poor paths outside the workplace. Everything in life for them, whether they chose so or not, must revolve around their "honest work". No time to research, pick, and cook a proper meal so I have chips and soda again. No time to work out, to worship the sun in peace, to study so I watch television and jerk off in-between beers again. No time to even so much as consider another way of life so I hammer nails into useless thing for useless people in useless place again. You are being scammed, robbed.

Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn’t know it was missing.” —PAOLA ANTONELLI, curator of architecture and design, Museum of Modern Art

Its substance was known to me. The crawling infinity of colours, the chaos of textures that went into each strand of that eternally complex tapestry…each one resonated under the step of the dancing mad god, vibrating and sending little echoes of bravery, or hunger, or architecture, or argument, or cabbage or murder or concrete across the aether. The weft of starlings’ motivations connected to the thick, sticky strand of a young thief’s laugh. The fibres stretched taut and glued themselves solidly to a third line, its silk made from the angles of seven flying buttresses to a cathedral roof. The plait disappeared into the enormity of possible spaces. Every intention, interaction, motivation, every colour, every body, every action and reaction, every piece of physical reality and the thoughts that it engendered, every connection made, every nuanced moment of history and potentiality, every toothache and flagstone, every emotion and birth and banknote, every possible thing ever is woven into that limitless, sprawling web. It is without beginning or end. It is complex to a degree that humbles the mind. It is a work of such beauty that my soul wept... ..I have danced with the spider. I have cut a caper with the dancing mad god.

I recommend readers to be adventurous and to try things they’ve never heard of or considered reading before. Get out of the comfort zone and discover something new and exciting. If you’d never be caught dead in the mystery section go and read some George Pelecanos, Dennis Lehane, Michael Connelly or many others. If you only read thrillers get deep into the literary fiction aisle and let yourself be seduced. If you only read non-fiction pick up a Ian McDonald novel or a Joyce Carol Oates novel. If you only read comic books, get acquainted with the great Charles Dickens or a certain Monsieur Dumas. Pick up something at random and read a page. Feel the texture of the language, the architecture of the imagery, the perfume of the style… There’s so much beauty, intelligence and excitement to be had between the pages of the books waiting for you at your local bookstore the only thing you need to bring is an open mind and a sense of adventure. Disregard all prejudices, all pre-conceived notions and all the rubbish some people try to make you think. Think for yourself. Regarding books or anything in life. Think for yourself.

If it happens that the human race doesn't make it, then the fact that we were here once will not be altered, that once upon a time we peopled this astonishing blue planet, and wondered intelligently at everything about it and the other things who lived here with us on it, and that we celebrated the beauty of it in music and art, architecture, literature, and dance, and that there were times when we approached something godlike in our abilities and aspirations. We emerged out of depthless mystery, and back into mystery we returned,and in the end the mystery is all there is.

History pays no heed to the unspectacular citizen who worked hard all day and walked at night to a humble home with dust on his tunic and his flat cap. But in the end the builders have had the better of it. The miracles they accomplished in stone are still standing and still beautiful, even with the disintegration of so many centuries on them, but the battlefields where great warriors died are so encroached upon by modern villas and so befouled by the rotting remains of motorcars and the staves of oil barrels that they do not always repay a visit.

A relationship is not a death row pardon. Being alone is not the end. Your own head is a beautiful place to visit. The architecture of your thoughts deserves recognition for its vast complexity and beauty.

One of the many innovations of modernism was the new demands it placed on the audience. Music, painting, literature, even architecture, would never again be quite so 'easy' as they had been.

Everyone lies about writing. They lie about how easy it is or how hard it was. They perpetuate a romantic idea that writing is some beautiful experience that takes place in an architectural room filled with leather novels and chai tea. They talk about their “morning ritual” and how they “dress for writing” and the cabin in Big Sur where they go to “be alone”—blah blah blah. No one tells the truth about writing a book. Authors pretend their stories were always shiny and perfect and just waiting to be written. The truth is, writing is this: hard and boring and occasionally great but usually not. Even I have lied about writing. I have told people that writing this book has been like brushing away dirt from a fossil. What a load of shit. It has been like hacking away at a freezer with a screwdriver. I wrote this book after my kids went to sleep. I wrote this book on subways and on airplanes and in between setups while I shot a television show. I wrote this book from scribbled thoughts I kept in the Notes app on my iPhone and conversations I had with myself in my own head before I went to sleep. I wrote it ugly and in pieces.

Paris has history, it has art, it has wonderful architecture, it has literature, but much more important than all these, it has freedom! If a city cannot offer freedom to its dwellers, all its other beauties will be meaningless!

[Mathematics] is security. Certainty. Truth. Beauty. Insight. Structure. Architecture. I see mathematics, the part of human knowledge that I call mathematics, as one thing—one great, glorious thing. Whether it is differential topology, or functional analysis, or homological algebra, it is all one thing. ... They are intimately interconnected, they are all facets of the same thing. That interconnection, that architecture, is secure truth and is beauty. That's what mathematics is to me.

You’ll join me sooner than you know in a place with . . . no illusions, where the truth is the only architecture, the only color, the only sound--where that which we sense merely on occasion, and which takes us up and gives us the rare and beautiful glimpses of the things we truly love, flows in deep rivers and tumbles about like clouds in the sky.

If Nature had been comfortable, mankind would never have invented architecture.

When Kleiner showed me the sky-line of New York I told him that man is like the coral insect — designed to build vast, beautiful, mineral things for the moon to delight in after he is dead.

The pleasure of doing the same thing, in the same way, every day, shouldn't be overlooked. The things I do every day take on a certain beauty and provide a kind of invisible architecture to my life.

A house is a machine for living in. Baths, sun, hot-water, cold-water, warmth at will, conservation of food, hygiene, beauty in the sense of good proportion. An armchair is a machine for sitting in and so on. Our

What we find beautiful and what we see as attractive are indicators of what we crave in order to become properly 'whole'.

Let your projects be independent organisms. They will develop their own beautiful architecture.

A classic is a successful book that has survived the reaction of the next period or generation. Then it's safe, like a style in architecture or furniture. It's acquired a picturesque dignity to take the place of its fashion....

In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedios Varo: in the central painting of a triptych, titled “Bordando el Manto Terrestre,” were a number of frail girls with heart-shaped faces, huge eyes, spun-gold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in the tapestry, and the tapestry was the world. Oedipa, perverse, had stood in front of the painting and cried. No one had noticed; she wore dark green bubble shades. For a moment she’d wondered if the seal around her sockets were tight enough to allow the tears simply to go on and fill up the entire lens space and never dry. She could carry the sadness of the moment with her that way forever, see the world refracted through those tears, those specific tears, as if indices as yet unfound varied in important ways from cry to cry. She had looked down at her feet and known, then, because of a painting, that what she stood on had only been woven together a couple thousand miles away in her own tower, was only by accident known as Mexico, and so Pierce had take her away from nothing, there’d been no escape. What did she so desire escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: that what really keeps her where she is is magic, anonymous and malignant, visited on her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disk jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?

That church . . . it reminds me of one in downtown Chicago. Do you remember? That beautiful one with the courtyard near the Drake." Jeremy took a newspaper from a stack behind him and sat across from me. "I know the one you're talking about, but that church," he gestured out the window, "is older than America." I sighed. "Of course it is. Did I really just try to compare British and American architecture? How insensitive of me.

It follows that the balance we approve of in architecture, and which we anoint with the word 'beautiful', alludes to a state that, on a psychological level, we can describe as mental health or happiness. Like buildings, we, too, contain opposites which can be more or less successfully handled.

The beauty of modern cities consists in a sense of their power, cruelty, impersonality, massiveness, + variety (as in New York or London) seen against the architectural vestiges of a beautiful past.

For the last fifty years or so, The Novel’s demise has been broadcast on an almost weekly basis. Yet it strikes me that whatever happens, however else the geography of the imagination might modify in the future in, say, the digital ether, The Novel will continue to survive for some long time to come because it is able to investigate and cherish two things that film, music, painting, dance, architecture, drama, podcasts, cellphone exchanges, and even poetry can’t in a lush, protracted mode. The first is the intricacy and beauty of language—especially the polyphonic qualities of it to which Bakhtin first drew our attention. And the second is human consciousness. What other art form allows one to feel we are entering and inhabiting another mind for hundreds of pages and several weeks on end?

I could have had one life but insteads I had another because of this book my grandmother protected. What a miracle is that? I was taught to love beautiful things. I had a language in which to consider beauty. Later that extended to the opera, to the ballet, to architecture I saw, and even later still I came to realize that what I had seen in the paintings I could see in the fields or a river. I could see it in people. All of that I attribute to this book.

Beneath the pleasure generated by the juxtaposition of order and complexity, we can identify the subsidiary architectural virtue of balance. Beauty is a likely outcome whenever architects skilfully mediate between any number of oppositions, including the old and the new, the natural and the man-made, the luxurious and the modest, and the masculine and the feminine.

We can conclude from this that we are drawn to call something beautiful whenever we detect that it contains in a concentrated form those qualities in which we personally, or our societies more generally, are deficient. We respect a style which can move us away from what we fear and towards what we crave: a style which carries the correct dosage of our missing virtues.

It is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture. That which I have insisted upon as the life of the whole, that spirit which is given only by the hand and eye of the workman, can never be recalled.

...Because beauty is typically the result of a few qualities working in concert, it can take more to guarantee the appeal of a bridge or a house than strength alone. (p 205)

Beauty is the promise of happiness.

Great beauty can be found in harmonious contrast variations, and brief uses of extremes. Vastly.

Go outside, wherever you are, and appreciate each drop of water, each flower, each architectural work of art.

Ruta Skadi was four hundred and sixteen years old, with all the pride and knowledge of an adult witch queen. She was wiser by far than any short-lived human, but she had not the slightest idea of how like a child she seemed beside these ancient beings. Nor did she know how far their awareness spread out beyond her like filamentary tentacles to the remotest corners of universes she had never dreamed of; nor that she saw them as human-formed only because her eyes expected to. If she were to perceive their true form, they would seem more like architecture than organism, like huge structures composed of intelligence and feeling. But they expected nothing else: she was very young.

A classic is a successful book that has survived the reaction of the next period or generation. Then it's safe, like a style in architecture or furniture. It's acquired a picturesque dignity to take the place of its fashion.

[Donald] Keene observed [in a book entitled The Pleasures of Japanese Literature, 1988] that the Japanese sense of beauty has long sharply differed from its Western counterpart: it has been dominated by a love of irregularity rather than symmetry, the impermanent rather than the eternal and the simple rather than the ornate. The reason owes nothing to climate or genetics, added Keene, but is the result of the actions of writers, painters and theorists, who had actively shaped the sense of beauty of their nation. Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. 'Culture' is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to.

The pursuit of beauty. The word is hard to articulate. As soon as you open your moth, it flies off, like a bird of paradise. Beauty can not be caught, but we are obliged to reach for it. Beauty is not neutral; pursuing it is a political act. Building is a grand act, a gesture toward peace, the opposite of destruction.

Here is something I have learned the hard way, but which a lot of well-meaning people in the West have a hard time accepting: All human beings are equal, but all cultures and religions are not. A culture that celebrates femininity and considers women to be the masters of their own lives is better than a culture that mutilates girls’ genitals and confines them behind walls and veils or flogs or stones them for falling in love. A culture that protects women’s rights by law is better than a culture in which a man can lawfully have four wives at once and women are denied alimony and half their inheritance. A culture that appoints women to its supreme court is better than a culture that declares that the testimony of a woman is worth half that of a man. It is part of Muslim culture to oppress women and part of all tribal cultures to institutionalize patronage, nepotism, and corruption. The culture of the Western Enlightenment is better. In the real world, equal respect for all cultures doesn’t translate into a rich mosaic of colorful and proud peoples interacting peacefully while maintaining a delightful diversity of food and craftwork. It translates into closed pockets of oppression, ignorance, and abuse. Many people genuinely feel pain at the thought of the death of whole cultures. I see this all the time. They ask, “Is there nothing beautiful in these cultures? Is there nothing beautiful in Islam?” There is beautiful architecture, yes, and encouragement of charity, yes, but Islam is built on sexual inequality and on the surrender of individual responsibility and choice. This is not just ugly; it is monstrous.

They proved that it was possible to produce beauty in life by surrounding life with beauty. They discovered that symmetrical bodies were built by souls continuously in the presence of symmetrical bodies; that noble thoughts were produced by minds surrounded by examples of mental nobility. Conversely, if a man were forced to look upon an ignoble or asymmetrical structure it would arouse within him a sense of ignobility which would provoke him to commit ignoble deeds. If an illproportioned building were erected in the midst of a city there would be ill-proportioned children born in that community; and men and women, gazing upon the asymmetrical structure, would live inharmonious lives. Thoughtful men of antiquity realized that their great philosophers were the natural products of the æsthetic ideals of architecture, music, and art established as the standards of the cultural systems of the time.

Why, there's the air, the sky, the morning, the evening, moonlight, my friends, women, the beautiful architecture of Paris to study, three big books to write and all sorts of other things. Anaxagoras used to say that he was in the world in order to admire the sun. And then I have the good fortune to be able to spend my days from morning to night in the company of a man of genius - myself - and it's very pleasant.

The Romans learn Art from their Greek slaves, but they learn reluctantly. They are almost Modern in their reluctance; they are almost ready to say that a killing machine is beautiful if it works. They are not quite that modern, and they let Greek craftsmen conceal the brutal militarism with Architecture, Sculpture and Painting. They learn Aesthetics, that strange ability to see in blood gushing from a wound only the beauty of the shape and color.

Pretty things can be useless, and ugly things can be useful. Beauty and quality are not always related.

Nina often reflected that LA was not a pretty city, architecturally speaking, but the sky made it beautiful several times a day. As with all things Hollywood, the lighting guy is God.

Nothing man made was perfect. A partnership wasn't about being beautiful and adored...it was about incorporating the mistakes into the architecture and continuing to build something beautiful. Together.

Our innate imbalances are further aggravated by practical demands. Our jobs make relentless calls on a narrow band of our faculties, reducing our chances of achieving rounded personalities and leaving us to suspect (often in the gathering darkness of a Sunday evening) that much of who we are, or could be, has gone unexplored. Society ends up containing a range of unbalanced groups, each hungering to sate its particular psychological deficiency, forming the backdrop against which our frequently heated conflicts about what is beautiful plays themselves out.

Taking architecture seriously therefore makes some singular strenuous demands upon us. It requires that we open ourselves to the idea that we are affected by our surroundings even when they are made of vinyl and would be expensive and time-consuming to ameliorate. It means conceding that we are inconveniently vulnerable to the color of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread. At the same time, it means acknowledging that buildings are able to solve no more than a fraction of our dissatisfactions or prevent evil from unfolding under their watch. Architecture, even at its most accomplished, will only ever constitute a small, and imperfect (expensive, prone to destruction, and morally unreliable), protest against the state of things. More awkwardly still, architecture asks us to imagine that happiness might often have an unostentatious, unheroic character to it, that it might be found in a run of old floorboards or in a wash of morning light over a plaster wall—in undramatic, frangible scenes of beauty that move us because we are aware of the darker backdrop against which they are set.

Everyone lies about writing. They lie about how easy it is or how hard it was. They perpetuate a romantic idea that writing is some beautiful experience that takes place in an architectural room filled with leather novels and chai tea.

the architecture student from number eleven presses his face to the glass and looks at the way the light falls through the water, he thinks about a place where he worked in the spring, an office where they had a stack of empty watercooler bottles against the window, and how he would sit and watch the sun mazing its way through the layers of refraction, the beauty of it, he called it spontaneous maths and he wanted to build architecture like he that, he looks at the row of houses opposite and he pictures them built entirely of plastic and glass, he imagines how people's lives might change if their dwellings shook with endless reflections of light, he does not know if it's possible but he thinks it's a nice idea

In winter you wake up in this city, especially on Sundays, to the chiming of its innumerable bells, as though behind your gauze curtains a gigantic china teaset were vibrating on a silver tray in the pearl-gray sky. You fling the window open and the room is instantly flooded with this outer, peal-laden haze, which is part damp oxygen, part coffee and prayers. No matter what sort of pills, and how many, you've got to swallow this morning, you feel it's not over for you yet. No matter, by the same token, how autonomous you are, how much you've been betrayed, how thorough and dispiriting in your self-knowledge, you assume there is still hope for you, or at least a future. (Hope, said Francis Bacon, is a good breakfast but bad supper.) This optimism derives from the haze, from the prayer part of it, especially if it's time for breakfast. On days like this, the city indeed acquires a porcelain aspect, what with all its zinc-covered cupolas resembling teapots or upturned cups, and the tilted profile of campaniles clinking like abandoned spoons and melting in the sky. Not to mention the seagulls and pigeons, now sharpening into focus, now melting into air. I should say that, good though this place is for honeymoons, I've often thought it should be tried for divorces also - both in progress and already accomplished. There is no better backdrop for rapture to fade into; whether right or wrong, no egoist can star for long in this porcelain setting by crystal water, for it steals the show. I am aware, of course, of the disastrous consequence the above suggestion may have for hotel rates here, even in winter. Still, people love their melodrama more than architecture, and I don't feel threatened. It is surprising that beauty is valued less than psychology, but so long as such is the case, I'll be able to afford this city - which means till the end of my days, and which ushers in the generous notion of the future.

Believing then … that human life is actually worth living, one can combat one’s natural pessimism by stoicism and the refusal of illusion, while embellishing the scene with any one of the following. There are the beauties of science and the extraordinary marvels of nature. There is the consolation and irony of philosophy. There are the infinite splendors of literature and poetry, not excluding the liturgical and devotional aspects of these, such as those found in John Donne or George Herbert. There is the grand resource of art and music and architecture, again not excluding those elements that aspire to the sublime. In all of these pursuits, any one of them enough to absorb a lifetime, there may be found a sense of awe and magnificence that does not depend at all on any invocation of the supernatural. Indeed, nobody armed by art and culture and literature and philosophy is likely to be anything but bored and sickened by ghost stories, UFO tales, spiritualist experiences, or babblings from the beyond.

A classic," suggested Anthony, "is a successful book that has survived the reaction of the next period or generation. Then it's safe, like a style in architecture or furniture. It's acquired a picturesque dignity to take the place of its fashion…." After

She remembered reading how the American South had often compared itself to Rome back before the Civil War. In the old days their society had been all about impressive architecture, honor, and codes of chivalry. And on the evil side, it had also been about slavery. Rome had slaves, some Southerners had argued, so why shouldn’t we? Annabeth shivered. She loved the architecture here. The houses and the gardens were very beautiful, very Roman. But she wondered why beautiful things had to be wrapped up with evil history. Or was it the other way around? Maybe the evil history made it necessary to build beautiful things, to mask the darker aspects.

It’s a much more beautiful city than I’d imagined, soaring gray buildings and grand, imposing architecture. Perhaps it’s the fact that the streets glitter with frost and there are snowflakes blowing in the air, but there’s a magical edge to it. It’s Christmas in two days; revelers spill onto the cobbled pavements from the bars and pubs, and it’s wall-to-wall festive music on the cab radio.

I look around with divine precision and gazing free upon the earth, I see — — architects and earthquakes - empaths and robots - fictions and near misses - lives changing, children sleeping, beauty brimming. I see us - trying on ways of being - so sweet and messy, so worthwhile.

She faced him, sitting up very straight in bed, the little wool shawl hunched about her shoulders. “Dirk, are you ever going back to architecture? The war is history, it’s now or never with you. Pretty soon it will be too late. Are you ever going back to architecture? To your profession? A clean amputation. “No, Mother.” She gave an actual gasp, as though icy water had been thrown full in her face. She looked suddenly old, tired. Her shoulders sagged. He stood in the doorway, braced for her reproaches. But when she spoke it was to reproach herself. “Then I’m a failure.” “Oh, what nonsense, Mother. I’m happy. You can’t live somebody else’s life. You used to tell me, when I was a kid I remember, that life wasn’t just an adventure, to be taken as it came, with the hope that something glorious was hidden just around the corner. You said you had lived that way and it hadn’t worked. You said ——” She interrupted him with a little cry. “I know I did. I know I did.” Suddenly she raised a warning finger. Her eyes were luminous, prophetic. “Dirk, you can’t desert her like that!” “Desert who?” He was startled. “Beauty! Self-expression. Whatever you want to call it. You wait! She’ll turn on you some day. Some day you’ll want her, and she won’t be there.

Man in his upended street must know he is becoming a mere numerical item of convenience; on the way to being a thing. His inherent instinct for love and beauty is not only becoming suspect but, in spite of all intent, useless to society. He sees the human creature atrophy as he sees poverty of imagination in much "modern art," so-called. But it was Walt Whitman himself who raised the perpendicular hand to declare: "It is provided in the essence of things that from any fruition of success no matter what, shall come forth something to make a greater struggle necessary." This is what is now coming forth in our architecture as in our life.

I must study politics and war," wrote John Adams, "that my sons may have the liberty to study mathematics, and philosophy, geography, natural history, and naval architecture, navigation, commerce, and agriculture, in order to give their children the right to study painting, poetry, music, architecture, statuary, tapestry, and porcelain." Adams saw clearly that politics is the indispensable foundation for things elegant and beautiful. First and above all else, you must secure life, liberty and the right to pursue your own happiness.

the only prospect which is really desirable or delightful, is that from the window of the breakfast-room [...] where we meet the first light of the dewy day, the first breath of the morning air, the first glance of gentle eyes; to which we descend in the very spring and elasticity of mental renovation and bodily energy, in the gathering up of our spirit for the new day, in the flush of our awakening from the darkness and the mystery of faint and inactive dreaming, in the resurrection from our daily grave, in the first tremulous sensation of the beauty of our being, in the most glorious perception of the lightning of our life; there, indeed, our expatiation of spirit, when it meets the pulse of outward sound and joy, the voice of bird and breeze and billow, does demand some power of liberty, some space for its going forth into the morning, some freedom of intercourse with the lovely and limitless energy of creature and creation.

...Originally everything about a Greek or Christian building meant something, and in reference to a higher order of things. This atmosphere of inexhaustible meaningfulness hung about the building like a magic veil. Beauty entered the system only secondarily, impairing the basic feeling of uncanny sublimity, of sanctification by magic or the gods' nearness. At the most, beauty tempered the dread - but this dread was the prerequisite everywhere. What does the beauty of a building mean to us now? The same as the beautiful face of a mindless woman: something masklike.

The Vieux Carre is most beautiful in the early evening, when the subtle colors of a sunset provide a perfect complement to the concrete, creating a harmony of architecture on each street... Thoughts also have a softer tone during these evenings. So, I chose this time to walk and think after a personally oppressive day. A day when my mind needed the relief of a pastel cityscape.

What of architectural beauty I now see, I know has gradually grown from within outward, out of the necessities and character of the indweller, who is the only builder, – out of some unconscious truthfulness, and nobleness, without ever a thought for the appearance; and whatever additional beauty of this kind is destined to be produced will be preceded by a like unconscious beauty of life.

On the levels of politics and theology, beauty is perfectly compatible with nonsense and tyranny. Which is very fortunate; for if beauty were incompatible with non­sense and tyranny, there would be precious little art in the world. The masterpieces of painting, sculpture and architecture were produced as religious or political propaganda, for the greater glory of a god, a govern­ment or a priesthood. But most kings and priests have been despotic and all religions have been riddled with superstition. Genius has been the servant of tyranny and art has advertised the merits of the local cult. Time, as it passes, separates the good art from the bad meta­physics. Can we learn to make this separation, not after the event, but while it is actually taking place? That is the question.

With a mixture of naïveté and British arrogance, she had always thought of London as the center of all culture and knowledge, but Paris was a revelation. The city was astonishingly modern, making London look like a dowdy country cousin. And yet for all its intellectual and social advancements, the streets of Paris were nearly medieval in appearance; dark, narrow and crooked as they twined through arrondissements of artfully shaped buildings. It was a messy, delightful assault to the senses, with architecture that ranged from the gothic spires of ancient churches to the solid grandeur of the Arc de Triomphe.

This was before the importance of set and setting was understood. I was brought to a basement room, given an injection, and left alone.” A recipe for a bad trip, surely, but Richards had precisely the opposite experience. “I felt immersed in this incredibly detailed imagery that looked like Islamic architecture, with Arabic script, about which I knew nothing. And then I somehow became these exquisitely intricate patterns, losing my usual identity. And all I can say is that the eternal brilliance of mystical consciousness manifested itself. My awareness was flooded with love, beauty, and peace beyond anything I ever had known or imagined to be possible. ‘Awe,’ ‘glory,’ and ‘gratitude’ were the only words that remained relevant.” Descriptions of such experiences always sound a little thin, at least when compared with the emotional impact people are trying to convey; for a life-transforming event, the words can seem paltry. When I mentioned this to Richards, he smiled. “You have to imagine a caveman transported into the middle of Manhattan. He sees buses, cell phones, skyscrapers, airplanes. Then zap him back to his cave. What does he say about the experience? ‘It was big, it was impressive, it was loud.’ He doesn’t have the vocabulary for ‘skyscraper,’ ‘elevator,’ ‘cell phone.’ Maybe he has an intuitive sense there was some sort of significance or order to the scene. But there are words we need that don’t yet exist. We’ve got five crayons when we need fifty thousand different shades.” In

...but there were four things I taught Walter to consider: 1) That it was Cain who built the first City, 2) That there is a true Science in the World called Scientia Umbrarum which, as to the publick teaching of it, has been suppressed but which the proper Artificer must comprehend, 3) That Architecture aims at Eternity and must contain the Eternal Powers: not only our Altars and Sacrifices, but the Forms of our Temples, must be mysticall, 4) That the miseries (If the present Life, and the Barbarities of Mankind, the fatall disadvantages we are all under and the Hazard we run of being eternally Undone, lead the True Architect not to Harmony or to Rationall Beauty but to quite another Game. Why, do we not believe the very Infants to be the Heirs of Hell and Children of the Devil as soon as they are disclos'd to the World? I declare that I build my Churches firmly on this Dunghil Earth and with a full Conception of Degenerated Nature. I have only room to add: there is a mad-drunken Catch, Hey ho! The Devil is dead! If that be true, I have been in the wrong Suit all my Life.

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

Can it be that the ultimate chapter of this new era of democratic freedom is going to be deformed by this growing drift toward conformity encouraged by politics and sentimental education? If so then by what name shall our national American character be justly called? Doomed to beget only curiosities or monstrosities in art, architecture and religion by artists predominant chiefly by compliance with commercial expediency? Machine standardization is apparently growing to mean little that is inspiring to the human spirit. We see the American workman himself becoming the prey of gangsterism made official. Everything as now professionalized, in time dies spiritually. Must the innate beauty of American life succumb or be destroyed? Can we save truth as beauty and beauty as truth in our country only if truth becomes the chief concern of our serious citizens and their artists, architects and men of religion, independent of established authority?

The pilgrimage of Italy, which I now accomplished, had long been the object of my curious devotion. The passage of Mount Cenis, the regular streets of Turin, the Gothic cathedral of Milan, the scenery of the Boromean Islands, the marble palaces of Genoa, the beauties of Florence, the wonders of Rome, the curiosities of Naples, the galleries of Bologna, the singular aspect of Venice, the amphitheatre of Verona, and the Palladian architecture of Vicenza, are still present to my imagination. I read the Tuscan writers on the banks of the Arno; but my conversation was with the dead rather than the living, and the whole college of Cardinals was of less value in my eyes than the transfiguration of Raphael, the Apollo of the Vatican, or the massy greatness of the Coliseum. It was at Rome, on the fifteenth of October, 1764, as I sat musing amidst the ruins of the Capitol, while the barefooted fryars were singing Vespers in the temple of Jupiter, that the idea of writing the decline and fall of the City first started to my mind. After Rome has kindled and satisfied the enthusiasm of the Classic pilgrim, his curiosity for all meaner objects insensibly subsides.

Nothing truly beautiful without its element of strangeness, nothing whole without its own incongruity, these (Jacksonville-area pioneer house) ruins sand up from the earth in sacred conjunction. These ruins conjoin the earth and the manmade, moving from one to the other and back again. The Browards built their house out of shell and limestone, and limestone forms naturally from the shells and skeletons of miniscule sea creatures over great periods of time. The Browards shaped the earth upright toward the sky. THey shaped it with doorframes and windows and chimneys. THey shaped the earth up around them as a shelter. But shaped earth was always the earth. Now the walls fall back down and join once again the ground, taken over by roots of ferns and weeds and small trees. The house was always the ground, only contained in an upward suspension. The house was always the earth, but brought up into architecture, and now the house that was always the earth crumbles back into the earth and nourishes new green things -- dog fennel and morning glories and palmettoes and cabbage palms and cedars. A true symbol of sacredness of the earth is earth's reclaiming of human ingenuity.

The Sumerians considered themselves destined to “clothe and feed” such gods, because they viewed themselves as the servants, in a sense, of what we would call instinctive forces, “elicited” by the “environment.” Such forces can be reasonably regarded as the Sumerians regarded them—as deities inhabiting a “supracelestial place,” extant prior to the dawn of humanity. Erotic attraction, for example—a powerful god—has a developmental history that predates the emergence of humanity, is associated with relatively “innate” releasing “stimuli” (those that characterize erotic beauty), is of terrible power, and has an existence “transcending” that of any individual who is currently “possessed.” Pan, the Greek god of nature, produced/represented fear (produced “panic”); Ares or the Roman Mars, warlike fury and aggression. We no longer personify such “instincts,” except for the purposes of literary embellishment, so we don't think of them “existing” in a “place” (like heaven, for example). But the idea that such instincts inhabit a space—and that wars occur in that space—is a metaphor of exceeding power and explanatory utility. Transpersonal motive forces do wage war with one another over vast spans of time; are each forced to come to terms with their powerful “opponents” in the intrapsychic hierarchy. The battles between the different “ways of life” (or different philosophies) that eternally characterize human societies can usefully be visualized as combat undertaken by different standards of value (and, therefore, by different hierarchies of motivation). The “forces” involved in such wars do not die, as they are “immortal”: the human beings acting as “pawns of the gods” during such times are not so fortunate.

You, the woman; I, the man; this, the world: And each is the work of all. There is the muffled step in the snow; the stranger; The crippled wren; the nun; the dancer; the Jesus-wing Over the walkers in the village; and there are Many beautiful arms around us and the things we know. See how those stars tramp over the heavens on their sticks Of ancient light: with what simplicity that blue Takes eternity into the quiet cave of God, where Ceasar And Socrates, like primitive paintings on a wall, Look, with idiot eyes, on the world where we two are. You, the sought for; I, the seeker; this, the search: And each is the mission of all. For greatness is only the drayhorse that coaxes The built cart out; and where we go is reason. But genius is an enormous littleness, a trickling Of heart that covers alike the hare and the hunter. How smoothly, like the sleep of a flower, love, The grassy wind moves over night's tense meadow: See how the great wooden eyes of the forrest Stare upon the architecture of our innocence. You, the village; I, the stranger; this, the road: And each is the work of all. Then, not that man do more, or stop pity; but that he be Wider in living; that all his cities fly a clean flag... We have been alone too long, love; it is terribly late For the pierced feet on the water and we must not die now. Have you ever wondered why all the windows in heaven were broken? Have you seen the homeless in the open grave of God's hand? Do you want to aquaint the larks with the fatuous music of war? There is the muffled step in the snow; the stranger; The crippled wren; the nun; the dancer; the Jesus-wing Over the walkers in the village; and there are Many desperate arms about us and the things we know.

Remember that a little learning can be a pleasant thing. Italy gives much, in beauty, gaiety, diversity of arts and landscapes, good humor and energy—willingly, without having to be coaxed or courted. Paradoxically, she requires (as do other countries, probably more so) and deserves some preparation as background to enhance her pleasures. It is almost impossible to read a total history of Italy; there was no united country until a hundred years ago, no single line of power, no concerted developments. It is useful, however, to know something about what made Siena run and stop, to become acquainted with the Estes and the Gonzagas, the Medicis and the Borgias, the names that were the local history. It helps to know something about the conflicts of the medieval church with the Holy Roman Empire, of the French, Spanish and early German kings who marked out large chunks of Italy for themselves or were invited to invade by a nervous Italian power. Above all, it helps to turn the pages of a few art and architecture books to become reacquainted with names other those of the luminous giants. The informed visitors will not allow himself to be cowed by the deluge of art. See what interests or attracts you; there is no Italian Secret Service that reports on whether you have seen everything. If you try to see it all except as a possible professional task, you may come to resist it all. Relax, know what you like and don’t like—not the worst of measures—and let the rest go.

Now in his nineties, Spock is writing a book on spirituality. But his understanding of spirituality is a far cry from that of institutionalized religions: Spirituality, unfortunately, is not a stylish word. It’s not a word that gets used. That’s because we’re such an unspiritual country that we think of it as somewhat corny to talk about spirituality. “What is that?” people say. Spirituality, to me, means the nonmaterial things. I don’t want to give the idea that it’s something mystical; I want it to apply to ordinary people’s ordinary lives: things like love, and helpfulness, and tolerance, and enjoyment of the arts or even creativity in the arts. I think that creativity in the arts is very special. It takes a high degree and a high type of spirituality to want to express things in terms of literature or poetry, plays, architecture, gardens, creating beauty any way. And if you can’t create beauty, at least it’s good to appreciate beauty and get some enjoyment and inspiration out of it. So it’s just things that aren’t totally materialistic. And that would include religion.

If a fountain could jet bouquets of chrome yellow in dazzling arches of chrysanthemum fireworks, that would be Canada Goldenrod. Each three-foot stem is a geyser of tiny gold daisies, ladylike in miniature, exuberant en masse. Where the soil is damp enough, they stand side by side with their perfect counterpart, New England Asters. Not the pale domesticates of the perennial border, the weak sauce of lavender or sky blue, but full-on royal purple that would make a violet shrink. The daisylike fringe of purple petals surrounds a disc as bright as the sun at high noon, a golden-orange pool, just a tantalizing shade darker than the surrounding goldenrod. Alone, each is a botanical superlative. Together, the visual effect is stunning. Purple and gold, the heraldic colors of the king and queen of the meadow, a regal procession in complementary colors. I just wanted to know why. In composing a palette, putting them together makes each more vivid; just a touch of one will bring out the other. In an 1890 treatise on color perception, Goethe, who was both a scientist and a poet, wrote that “the colors diametrically opposed to each other . . . are those which reciprocally evoke each other in the eye.” Purple and yellow are a reciprocal pair. Growing together, both receive more pollinator visits than they would if they were growing alone. It’s a testable hypothesis; it’s a question of science, a question of art, and a question of beauty. Why are they beautiful together? It is a phenomenon simultaneously material and spiritual, for which we need all wavelengths, for which we need depth perception. When I stare too long at the world with science eyes, I see an afterimage of traditional knowledge. Might science and traditional knowledge be purple and yellow to one another, might they be goldenrod and asters? We see the world more fully when we use both. The question of goldenrod and asters was of course just emblematic of what I really wanted to know. It was an architecture of relationships, of connections that I yearned to understand. I wanted to see the shimmering threads that hold it all together. And I wanted to know why we love the world, why the most ordinary scrap of meadow can rock us back on our heels in awe.

He got carried away as he developed his idea: 'The aesthetic quality of towns is essential. If, as has been said, every landscape is a frame of mind, then it is even more true of a townscape. The way the inhabitants think and feel corresponds to the town they live in. An analogous phenomenon can be observed in certain women who, during their pregnancy, surround themselves with harmonious objects, calm statues, bright gardens, delicate curios, so that their child-to-be, under their influence, will be beautiful. In the same way one cannot imagine a genius coming from other than a magnificent town. Goethe was born in Frankfurt, a noble city where the Main flows between venerable palaces, between walls where the ancient heart of Germany lives on. Hoffmann explains Nuremberg - his soul performs acrobatics on the gables like a gnome on the decorated face of an old German clock. In France there is Rouen, with its rich accumulation of architectural monuments, its. cathedral like an oasis of stone, which produced Corneille and then Flaubert, two pure geniuses shaking hands across the centuries. There is no doubt about it, beautiful towns make beautiful souls.

We entered the Taj Mahal, the most romantic place on the planet, and possibly the most beautiful building on earth. We ate curry with our driver in a Delhi street café late at night and had the best chicken tikka I’ve ever tasted in an Agra restaurant. After the madness of Delhi, we were astonished that Agra could be even more mental. And we loved it. We marvelled at the architecture of the Red Fort, where Shah Jahan spent the last three years of his life, imprisoned and staring across at the Taj Mahal, the tomb of his favourite wife. We spent two days in a village constructed specifically for tiger safaris, although I didn’t see a tiger, my wife and son were more fortunate. We noticed in Mussoorie, 230 miles from the Tibetan border, evidence of Tibetan features in the faces of the Indians, and we paid just 770 rupees for the three of us to eat heartily in a Tibetan restaurant. Walking along the road accompanied by a cow became as common place as seeing a whole family of four without crash helmets on a motorcycle, a car going around a roundabout the wrong way, and cars approaching towards us on the wrong side of a duel carriageway. India has no traffic rules it seems.

This is textbook Bad Idea. We're driving with a stranger, no one knows where we are, and we have no way of getting in touch with anyone. This is exactly how people become statistics." "Exactly?" I asked, thinking of all the bizarre twists and turns that had led us to this place. Ben ceded the point with a sideways shrug. "Maybe not exactly. But still..." He let it go, and the cab eventually stopped at the edge of a remote, forested area. Sage got out and paid. "Everybody out!" Ben looked at me, one eyebrow raised. He was leaving the choice to me. I gave his knee a quick squeeze before I opened the door and we piled out of the car. Sage waited for the cab to drive away, then ducked onto a forest path, clearly assuming we'd follow. The path through the thick foliage was stunning in the moonlight, and I automatically released my camera from its bag. "I wish you wouldn't," Sage said without turning around. "You know I'm not one for visitors." "I'll refrain from selling the pictures to Travel and Leisure, then," I said, already snapping away. "Besides, I need something to take my mind off my feet." My shoes were still on the beach, where I'd kicked them off to dance. "Hey, I offered to carry you," Sage offered. "No, thank you." I suppose I should have been able to move swiftly and silently without my shoes, but I only managed to stab myself on something with every other footfall, giving me a sideways, hopping gait. Every few minutes Sage would hold out his arms, offering to carry me again. I grimaced and denied him each time. After what felt like about ten miles, even the photos weren't distracting enough. "How much farther?" I asked. "We're here." There was nothing in front of us but more trees. "Wow," Ben said, and I followed his eyes upward to see that several of the tree trunks were actually stilts supporting a beautifully hidden wood-and-glass cabin, set high among the branches. I was immediately charmed. "You live in a tree house," I said. I aimed my camera the façade, answering Sage's objection before he even said it. "For me, not for Architectural Digest." "Thank you," Sage said.

a harbinger of a third wave of computing, one that blurred the line between augmented human intelligence and artificial intelligence. “The first generation of computers were machines that counted and tabulated,” Rometty says, harking back to IBM’s roots in Herman Hollerith’s punch-card tabulators used for the 1890 census. “The second generation involved programmable machines that used the von Neumann architecture. You had to tell them what to do.” Beginning with Ada Lovelace, people wrote algorithms that instructed these computers, step by step, how to perform tasks. “Because of the proliferation of data,” Rometty adds, “there is no choice but to have a third generation, which are systems that are not programmed, they learn.”27 But even as this occurs, the process could remain one of partnership and symbiosis with humans rather than one designed to relegate humans to the dustbin of history. Larry Norton, a breast cancer specialist at New York’s Memorial Sloan-Kettering Cancer Center, was part of the team that worked with Watson. “Computer science is going to evolve rapidly, and medicine will evolve with it,” he said. “This is coevolution. We’ll help each other.”28 This belief that machines and humans will get smarter together is a process that Doug Engelbart called “bootstrapping” and “coevolution.”29 It raises an interesting prospect: perhaps no matter how fast computers progress, artificial intelligence may never outstrip the intelligence of the human-machine partnership. Let us assume, for example, that a machine someday exhibits all of the mental capabilities of a human: giving the outward appearance of recognizing patterns, perceiving emotions, appreciating beauty, creating art, having desires, forming moral values, and pursuing goals. Such a machine might be able to pass a Turing Test. It might even pass what we could call the Ada Test, which is that it could appear to “originate” its own thoughts that go beyond what we humans program it to do. There would, however, be still another hurdle before we could say that artificial intelligence has triumphed over augmented intelligence. We can call it the Licklider Test. It would go beyond asking whether a machine could replicate all the components of human intelligence to ask whether the machine accomplishes these tasks better when whirring away completely on its own or when working in conjunction with humans. In other words, is it possible that humans and machines working in partnership will be indefinitely more powerful than an artificial intelligence machine working alone?