Architecture Philosophy Quotes

The science of government it is my duty to study, more than all other sciences; the arts of legislation and administration and negotiation ought to take the place of, indeed exclude, in a manner, all other arts. I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.

The ideal architect should be a man of letters, a skillful draftsman, a mathematician, familiar with historical studies, a diligent student of philosophy, acquainted with music, not ignorant of medicine, learned in the responses of jurisconsults, familiar with astronomy and astronomical calculations.

I must study politics and war that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce, and agriculture in order to give their children a right to study paintings, poetry, music, architecture, statuary, tapestry, and porcelain.

Our world, like a charnel-house, is strewn with the detritus of dead epochs.

Brilliant Muslim scholars applied Qur’anic insights to spark the medieval Islamic Golden Age filled with a mind-boggling outpouring of creativity in science, math, medicine, fashion, philosophy, economics, mental health therapy, architecture, art, and beyond.

Behavior is imitated, then abstracted into play, formalized into drama and story, crystallized into myth and codified into religion—and only then criticized in philosophy, and provided, post-hoc, with rational underpinnings

Does poetry - or language or philosophy or music or architecture, even that of our temples - really need to dance to the same tune as our political beliefs or our religious convictions? Is the strict harmony of our cultural identities a virtue to be valued above others that may come from the accommodation of contradictions?

Jakarta telah menjadi sekadar tempat bertahan hidup, bukan tempat hidup yang mampu memberi arti keberadaan kepada penghuni yang tinggal di dalamnya.

I have come more and more to the belief that we owe our arts a thousand times what we are paying them. We support our cigarette factories, soap manufacturers, beauticians, all the luxury and pleasure businesses of our over-indulged civilization, but we pay our painters an average wage... and yet when the future digs us from the past they won't care how we smell, what we smoke, or if we bathed. All they’ll know of us will be our architecture, our paintings, sculpture, poems, laws, philosophy, drama, our pottery and fabrics, the things which our hands made and our minds thought up - oh, the machines they’ll dig up too, but perhaps they’ll point to them as our destruction, the wheels that drove us down to death.

The Hedonistic Imperative outlines how genetic engineering and nanotechnology will abolish suffering in all sentient life. This project is ambitious but technically feasible. It is also instrumentally rational and ethically mandatory. The metabolic pathways of pain and malaise evolved only because they once served the fitness of our genes. They will be replaced by a different sort of neural architecture. States of sublime well-being are destined to become the genetically pre-programmed norm of mental health. The world's last aversive experience will be a precisely dateable event.

Writing about music really is like dancing about architecture--and a good thing, too. Everything is like that.

Like a spider in its web, a vibration anywhere is felt everywhere.

All but universally, human architecture values front elevations over back entrances, public spaces over private. Danny Jessup says that this aspect of architecture is also a reflection of human nature, that most people care more about their appearance than they do about their souls.

We are what we build

It is obvious that an imagined world, however different it may be from the real one, must have something - a form - in common with it.

We must change life,' the poet [Rimbaud] had written, and so the Situationists set out to transform everyday life in the modern world through a comprehensive program that included above all else the construction of 'situations' -- defined in 1958 as moments of life 'concretely and deliberately constructed by the collective organization of a unitary ambiance and a play of events' -- but that also necessary entailed the supersession of philosophy, the realization of art, the abolition of politics, and the fall of the 'spectacle-commodity economy.

Lying there, I thought of my own culture, of the assembly of books in the library at Alexandria; of the deliberations of Darwin and Mendel in their respective gardens; of the architectural conception of the cathedral at Chartres; of Bach's cello suites, the philosophy of Schweitzer, the insights of Planck and Dirac. Have we come all this way, I wondered, only to be dismantled by our own technologies, to be betrayed by political connivance or the impersonal avarice of a corporation?

The suburb of Saffron Park lay on the sunset side of London, as red and ragged as a cloud of sunset. It was built of a bright brick throughout; its sky-line was fantastic, and even its ground plan was wild. It had been the outburst of a speculative builder, faintly tinged with art, who called its architecture sometimes Elizabethan and sometimes Queen Anne, apparently under the impression that the two sovereigns were identical. It was described with some justice as an artistic colony, though it never in any definable way produced any art. But although its pretensions to be an intellectual centre were a little vague, its pretensions to be a pleasant place were quite indisputable. The stranger who looked for the first time at the quaint red houses could only think how very oddly shaped the people must be who could fit in to them. Nor when he met the people was he disappointed in this respect. The place was not only pleasant, but perfect, if once he could regard it not as a deception but rather as a dream. Even if the people were not "artists," the whole was nevertheless artistic. That young man with the long, auburn hair and the impudent face -- that young man was not really a poet; but surely he was a poem. That old gentleman with the wild, white beard and the wild, white hat -- that venerable humbug was not really a philosopher; but at least he was the cause of philosophy in others. That scientific gentleman with the bald, egg-like head and the bare, bird-like neck had no real right to the airs of science that he assumed. He had not discovered anything new in biology; but what biological creature could he have discovered more singular than himself? Thus, and thus only, the whole place had properly to be regarded; it had to be considered not so much as a workshop for artists, but as a frail but finished work of art. A man who stepped into its social atmosphere felt as if he had stepped into a written comedy.

As John Adams famously wrote during the American Revolution, “I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.” So maybe today they’re writing apps rather than studying poetry, but that’s an adjustment for the age.

Talking to oneself is a recognized means to learn, in fact, self-speak may be the seed concept behind human consciousness. Private conversation that we hold with ourselves might represent the preeminent means to provoke the speaker into thinking (a form of cognitive auto-stimulation), modify behavior, and perhaps even amend the functional architecture of the plastic human brain. Writing out our private talks with oneself enables a person to “see” what they think, a process that invites reflection, ongoing thoughtful discourse with the self, and refinement of our thinking patterns and beliefs. Internal sotto voice conversations with our private-self provide several advantages, but most people find it difficult to maintain self-speak for an extended period. Internal dialogue must compete with external distractions. Writing allows a person to resume a personal dialogue where they left off before interrupted by outside stimuli. A written disquisition also provides a permanent record that a person can examine, amend, supplement, update, or reject.

Everywhere you looked in India there was evidence of a past that had attained mythical heights. From philosophy to architecture, few civilisations have left such an awesome record.

I see things in windows and I say to myself that I want them. I want them because I want to belong. I want to be liked by more people, I want to be held in higher regard than others. I want to feel valued, so I say to myself to watch certain shows. I watch certain shows on the television so I can participate in dialogues and conversations and debates with people who want the same things I want. I want to dress a certain way so certain groups of people are forced to be attracted to me. I want to do my hair a certain way with certain styling products and particular combs and methods so that I can fit in with the In-Crowd. I want to spend hours upon hours at the gym, stuffing my body with what scientists are calling 'superfoods', so that I can be loved and envied by everyone around me. I want to become an icon on someone's mantle. I want to work meaningless jobs so that I can fill my wallet and parentally-advised bank accounts with monetary potential. I want to believe what's on the news so that I can feel normal along with the rest of forever. I want to listen to the Top Ten on Q102, and roll my windows down so others can hear it and see that I am listening to it, and enjoying it. I want to go to church every Sunday, and pray every other day. I want to believe that what I do is for the promise of a peaceful afterlife. I want rewards for my 'good' deeds. I want acknowledgment and praise. And I want people to know that I put out that fire. I want people to know that I support the war effort. I want people to know that I volunteer to save lives. I want to be seen and heard and pointed at with love. I want to read my name in the history books during a future full of clones exactly like me. The mirror, I've noticed, is almost always positioned above the sink. Though the sink offers more depth than a mirror, and mirror is only able to reflect, the sink is held in lower regard. Lower still is the toilet, and thought it offers even more depth than the sink, we piss and shit in it. I want these kind of architectural details to be paralleled in my every day life. I want to care more about my reflection, and less about my cleanliness. I want to be seen as someone who lives externally, and never internally, unless I am able to lock the door behind me. I want these things, because if I didn't, I would be dead in the mirrors of those around me. I would be nothing. I would be an example. Sunken, and easily washed away.

In the internal decoration, if not in the external architecture of their residences, the English are supreme. The Italians have but little sentiment beyond marbles and colors. In France, meliora probant, deteriora sequuntur -- the people are too much a race of gadabouts to maintain those household proprieties of which, indeed, they have a delicate appreciation, or at least the elements of a proper sense. The Chinese and most of the Eastern races have a warm but inappropriate fancy. The Scotch are poor decorists. The Dutch have, perhaps, an indeterminate idea that a curtain is not a cabbage. In Spain, they are all curtains -- a nation of hangmen. The Russians do not furnish. The Hottentots and Kickapoos are very well in their way. The Yankees alone are preposterous.

I must study politics and war that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce and agriculture, in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain. —John Adams

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.

There are those who say further that these are meer Dreames and no true Relations, but I say back to them: look upon my Churches in the Spittle-fields, in Limehouse, and now in the Parish of Wapping Stepney, and do you not wonder why they lead you into a darker World which on Reflection you know to be your own? Every Patch of Ground by them has its Hypochondriack Distemper and Disorder; every Stone of them bears the marks of Scorching by which you may follow the true Path of God.

I must study politics and war that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce, and agriculture, in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry, and porcelain.

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.

Man, you do not know the fabric from which you are woven. More than helices of stardust, your essence precedes existence.

Aesthetic detachment will not stop the suffering of desire nor will the agonies of the boudoir cure the desire of suffering.

I must study politics and war [he wrote] that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce, and agriculture in order to give their children a right to study paintings, poetry, music, architecture, statuary, tapestry, and porcelain.

The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement that all work be done by the other arts is put to test.

Work on Philosophy is -as work in Architecture frequently is - actually more of a kind of work on oneself. On one's owns conceptions. On the way one sees things. And what one demands of them

For two days we explored Rome, a city that is both a living organism and a fossil. Bleached structures from antiquity lay like dried bones, embedded in pulsating cables and thrumming traffic, the arteries of modern life. We visited the Pantheon, the Roman Forum, the Sistine Chapel. My instinct was to worship, to venerate. That was how I felt toward the whole city: that it should be behind glass, adored from a distance, never touched, never altered. My companions moved through the city differently, aware of its significance but not subdued by it. They were not hushed by the Trevi Fountain; they were not silenced by the Colosseum. Instead, as we moved from one relic to the next, they debated philosophy—Hobbes and Descartes, Aquinas and Machiavelli. There was a kind of symbiosis in their relationship to these grand places: they gave life to the ancient architecture by making it the backdrop of their discourse, by refusing to worship at its altar as if it were a dead thing.

In paintings, music, poetry, architecture, we feel the elusive energy that moves through us and the air and the ground all the time, that usually disperses and turns chaotic in our busy-ness and distractedness and moodiness. Artists channel it, corral it, make it visible to the rest of us. The best works of art are like semaphores of our experience, signaling what we didn't know was true but do now.

And across these mean Dwellings of Black Step Lane, where as a Boy I dwell'd for a while, the Shaddowe of my last Church will fall: what the Mobb has torn down I will build again in Splendour. And thus will I compleet the Figure: Spittle-Fields, Wapping and Lime-house have made the Triangle; Bloomsbury and St Mary Woolnoth have next created the major Pentacle-starre; and, with Greenwich, all these will form the Sextuple abode of Baal-Berith or the Lord of the Covenant. Then, with the church of Little St Hugh, the Septilateral Figure will rise about Black Step Lane and, in this Pattern, every Straight line is enrich'd with a point at Infinity and every Plane with a line at Infinity. Let him that has Understanding count the Number: the seven Churches are built in conjunction with the seven Planets in the lower Orbs of Heaven, the seven Circles of the Heavens, the seven Starres in Ursa Minor and the seven Starres in the Pleiades. Little St Hugh was flung in the Pitte with the seven Marks upon his Hands, Feet, Sides and Breast which thus exhibit the seven Demons - Beydelus, Metucgayn, Adulec, Demeymes, Gadix, Uquizuz and Sol. I have built an everlasting Order, which I may run through laughing: no one can catch me now.

Not exactly a certified philosopher—my degree is in engineering and architecture, but my true home was philosophy, and even at the Polytechnic I found some learned professors who guided my private readings.

In 1966, Derrida delivered a paper entitled “Structure Sign and Play in the Discourse of the Human Sciences” (which is a wonderful paper, right up there with the original DynamoDB paper and the Page Rank algorithm paper).

The impact of the sense of vision on philosophy is well summed up by Peter Sloterdijk: 'The eyes are the organic prototype of philosophy. Their enigma is that they not only can see but are also able to see themselves seeing.

The arts which we now call garden design and landscape design have three separate origins: sacred space, horticultural space and domestic space. Like Homo sapiens, the arts of garden and landscape design probably spread to Europe from West Asia.

My companions moved through [Rome] differently, aware of its significance but not subdued by it. They were not hushed by the Trevi Fountain; they were not silenced by the Colosseum. Instead, as we moved from one relic to the next, they debated philosophy—Hobbes and Descartes, Aquinas and Machiavelli. There was a kind of symbiosis in their relationship to these grand places: they gave life to the ancient architecture by making it the backdrop of their discourse, by refusing to worship at its altar as if it were a dead thing.

The Fates – or Moirai – are a group of three weaving goddesses who assign individual destinies to mortals at birth. Their names are Clotho (the Spinner), Lachesis (the Alloter) and Atropos (the Inflexible). Zeus, Poseidon, Hades. If not two, then three. Stability.

Let us suppose that such a person began by observing those Christian activities which are, in a sense, directed towards this present world. He would find that this religion had, as a mere matter of historical fact, been the agent which preserved such secular civilization as survived the fall of the Roman Empire; that to it Europe owes the salvation, in those perilous ages, of civilized agriculture, architecture, laws, and literacy itself. He would find that this same religion has always been healing the sick and caring for the poor; that it has, more than any other, blessed marriage; and that arts and philosophy tend to flourish in its neighborhood. In a word, it is always either doing, or at least repenting with shame for not having done, all the things which secular humanitarianism enjoins. If our enquirer stopped at this point he would have no difficulty in classifying Christianity—giving it its place on a map of the ‘great religions.

to astrology and its “supra-terrestrial” claims we owe the grand style of architecture in Asia and Egypt It seems that all great things first have to bestride the earth in monstrous and frightening masks in order to inscribe themselves in the hearts of humanity with eternal demands: dogmatic philosophy was such a mask;

The news filled me with such euphoria that for an instant I was numb. My ingrained self-censorship immediately started working: I registered the fact that there was an orgy of weeping going on around me, and that I had to come up with some suitable performance. There seemed nowhere to hide my lack of correct emotion except the shoulder of the woman in front of me, one of the student officials, who was apparently heartbroken. I swiftly buried my head in her shoulder and heaved appropriately. As so often in China, a bit of ritual did the trick. Sniveling heartily she made a movement as though she was going to turn around and embrace me I pressed my whole weight on her from behind to keep her in her place, hoping to give the impression that I was in a state of abandoned grief. In the days after Mao's death, I did a lot of thinking. I knew he was considered a philosopher, and I tried to think what his 'philosophy' really was. It seemed to me that its central principle was the need or the desire? for perpetual conflict. The core of his thinking seemed to be that human struggles were the motivating force of history and that in order to make history 'class enemies' had to be continuously created en masse. I wondered whether there were any other philosophers whose theories had led to the suffering and death of so many. I thought of the terror and misery to which the Chinese population had been subjected. For what? But Mao's theory might just be the extension of his personality. He was, it seemed to me, really a restless fight promoter by nature, and good at it. He understood ugly human instincts such as envy and resentment, and knew how to mobilize them for his ends. He ruled by getting people to hate each other. In doing so, he got ordinary Chinese to carry out many of the tasks undertaken in other dictatorships by professional elites. Mao had managed to turn the people into the ultimate weapon of dictatorship. That was why under him there was no real equivalent of the KGB in China. There was no need. In bringing out and nourishing the worst in people, Mao had created a moral wasteland and a land of hatred. But how much individual responsibility ordinary people should share, I could not decide. The other hallmark of Maoism, it seemed to me, was the reign of ignorance. Because of his calculation that the cultured class were an easy target for a population that was largely illiterate, because of his own deep resentment of formal education and the educated, because of his megalomania, which led to his scorn for the great figures of Chinese culture, and because of his contempt for the areas of Chinese civilization that he did not understand, such as architecture, art, and music, Mao destroyed much of the country's cultural heritage. He left behind not only a brutalized nation, but also an ugly land with little of its past glory remaining or appreciated. The Chinese seemed to be mourning Mao in a heartfelt fashion. But I wondered how many of their tears were genuine. People had practiced acting to such a degree that they confused it with their true feelings. Weeping for Mao was perhaps just another programmed act in their programmed lives. Yet the mood of the nation was unmistakably against continuing Mao's policies. Less than a month after his death, on 6 October, Mme Mao was arrested, along with the other members of the Gang of Four. They had no support from anyone not the army, not the police, not even their own guards. They had had only Mao. The Gang of Four had held power only because it was really a Gang of Five. When I heard about the ease with which the Four had been removed, I felt a wave of sadness. How could such a small group of second-rate tyrants ravage 900 million people for so long? But my main feeling was joy. The last tyrants of the Cultural Revolution were finally gone.

This is the philosophy of YAGNI: “You aren’t going to need it.” There is wisdom in this message, since over-engineering is often much worse than under-engineering. On the other hand, when you discover that you truly do need an architectural boundary where none exists, the costs and risks can be very high to add such a boundary.

There are many arts and sciences of which a miner should not be ignorant. First there is Philosophy, that he may discern the origin, cause, and nature of subterranean things; for then he will be able to dig out the veins easily and advantageously, and to obtain more abundant results from his mining. Secondly there is Medicine, that he may be able to look after his diggers and other workman ... Thirdly follows astronomy, that he may know the divisions of the heavens and from them judge the directions of the veins. Fourthly, there is the science of Surveying that he may be able to estimate how deep a shaft should be sunk ... Fifthly, his knowledge of Arithmetical Science should be such that he may calculate the cost to be incurred in the machinery and the working of the mine. Sixthly, his learning must comprise Architecture, that he himself may construct the various machines and timber work required underground ... Next, he must have knowledge of Drawing, that he can draw plans of his machinery. Lastly, there is the Law, especially that dealing with metals, that he may claim his own rights, that he may undertake the duty of giving others his opinion on legal matters, that he may not take another man's property and so make trouble for himself, and that he may fulfil his obligations to others according to the law.

Long before the Italian Renaissance, the Islamic caliphs realized that the Greeks and Romans had been onto something with that book-learning stuff, and they used this realization to revolutionize astronomy, literature, physics, philosophy, and architecture. Still bored, they went ahead and invented algebra and modern medicine as well.

The literatures of Greece and Rome comprise the longest, most complete and most nearly continuous record we have of what the strange creature known as Homo sapiens has been busy about in virtually every department of spiritual, intellectual and social activity. That record covers nearly twenty-five hundred years in an unbroken stretch of this animated oddity’s operations in poetry, drama, law, agriculture, philosophy, architecture, natural history, philology, rhetoric, astronomy, logic, politics, botany, zoölogy, medicine, geography, theology,—everything, I believe, that lies in the range of human knowledge or speculation. Hence the mind which has attentively canvassed this record is much more than a disciplined mind, it is an experienced mind. It has come, as Emerson says, into a feeling of immense longevity, and it instinctively views contemporary man and his doings in the perspective set by this profound and weighty experience. Our studies were properly called formative, because beyond all others their effect was powerfully maturing. Cicero told the unvarnished truth in saying that those who have no knowledge of what has gone before them must forever remain children; and if one wished to characterise the collective mind of this present period, or indeed of any period,—the use it makes of its powers of observation, reflection, logical inference,—one would best do it by the one word immaturity.

I must study politics and war that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce, and agriculture in order to give their children a right to study paintings, poetry, music, architecture, statuary, tapestry, and porcelain. How

The Revolution was another of the darkest, most uncertain of times and the longest war in American history, until the Vietnam War. It lasted eight and a half years, and Adams, because of his unstinting service to his country, was separated from his family nearly all that time, much to his and their distress. In a letter from France he tried to explain to them the reason for such commitment. I must study politics and war [he wrote] that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce, and agriculture in order to give their children a right to study paintings, poetry, music, architecture, statuary, tapestry, and porcelain.

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.

...pseudo-scientific minds, like those of the scientist or the painter in love with the pictorial, both teaching as they were taught to become architects, practice a kind of building which is inevitably the result of conditioning of the mind instead of enlightenment. By this standard means also, the old conformities are appearing as new but only in another guise, more insidious because they are especially convenient to the standardizations of the modernist plan-factory and wholly ignorant of anything but public expediency. So in our big cities architecture like religion is helpless under the blows of science and the crushing weight of conformity--caused to gravitate to the masquerade in our streets in the name of "modernity." Fearfully concealing lack of initial courage or fundamental preparation or present merit: reactionary. Institutional public influences calling themselves conservative are really no more than the usual political stand-patters or social lid-sitters. As a feature of our cultural life architecture takes a backward direction, becomes less truly radical as our life itself grows more sterile, more conformist. All this in order to be safe? How soon will "we the people" awake to the fact that the philosophy of natural or intrinsic building we are here calling organic is at one with our freedom--as declared, 1776?

Science in its everyday practice is much closer to art than to philosophy. When I look at Godel's proof of his undecidability theorem, I do not see a philosophical argument. The proof is a soaring piece of architecture, as unique and as lovely as Chartres Cathedral. Godel took Hilbert's formalized axioms of mathematics as his building blocks and built out of them a lofty structure of ideas into which he could finally insert his undecidable arithmetical statement as the keystone of the arch. The proof is a great work of art. It is a construction, not a reduction. It destroyed Hilbert's dream of reducing all mathematics to a few equations, and replaced it with a greater dream of mathematics as an endlessly growing realm of ideas. Godel proved that in mathematics the whole is always greater than the sum of the parts. Every formalization of mathematics raises questions that reach beyond the limits of the formalism into unexplored territory.

And if I am not mistaken here is the secret of the greatness that was Spain. In Spain it is men that are the poems, the pictures and the buildings. Men are its philosophies. They lived, these Spaniards of the Golden Age; they felt and did; they did not think. Life was what they sought and found, life in its turmoil, its fervour and its variety. Passion was the seed that brought them forth and passion was the flower they bore. But passion alone cannot give rise to a great art. In the arts the Spaniards invented nothing. They did little in any of those they practised, but give a local colour to a virtuosity they borrowed from abroad. Their literature, as I have ventured to remark, was not of the highest rank; they were taught to paint by foreign masters, but, inapt pupils, gave birth to one painter only of the very first class; they owed their architecture to the Moors, the French and the Italians, and the works themselves produced were best when they departed least from their patterns. Their preeminence was great, but it lay in another direction: it was a preeminence of character. In this I think they have been surpassed by none and equalled only by the ancient Romans. It looks as though all the energy, all the originality, of this vigorous race had been disposed to one end and one end only, the creation of man. It is not in art that they excelled, they excelled in what is greater than art--in man. But it is thought that has the last word.

The strategy consists in extracting from the order achieved by past generations patterns that will help avoid disorder in one’s own mind. There is much knowledge—or well-ordered information—accumulated in culture, ready for this use. Great music, architecture, art, poetry, drama, dance, philosophy, and religion are there for anyone to see as examples of how harmony can be imposed on chaos. Yet so many people ignore them, expecting to create meaning in their lives by their own devices.

when modern philosophy began to devote itself to the study of logic and rationality, it gradually lost interest in psychology and lost touch with the passionate, contextualized nature of human life. It is impossible to analyze “the meaning of life” in the abstract, or in general, or for some mythical and perfectly rational being. Only by knowing the kinds of beings that we actually are, with the complex mental and emotional architecture that we happen to possess, can anyone even begin to ask about what would count as a meaningful life.

Classics is, to me, the unicycle of education. It isn’t especially practical or useful to learn Ancient History. It isn’t necessary to learn Latin, or to read Virgil, however much it helps your spelling. It won’t get you a well-paid job in a fancy office, and it won’t necessarily make you attractive to the opposite sex (maybe just to the really good people). But none of that is important compared with the simple fact that studying Classics is brilliant. It’s terrific to know an alphabet you didn’t learn as a five-year-old. It’s amazing to learn about a world far away from your own. It’s wonderful to find a whole new world of literature, history, art, architecture, religion, philosophy, politics and society.

Having taken proper notice of the complexity of the machine [...] the infinity of ropes and cords, the sails, the varying forces that act upon them, and the skill required to manage the whole, directing the vessel in the desired direction [...] what pity it is that an art so important, so difficult, and so intimately concerned with the invariable laws of mechanical nature, should be so held by its possessors that it cannot improve but must die with each individual. Having no advantages of previous education, they cannot arrange their thoughts; they can scarcely be said to think. They can far less express or communicate to others the intuitive knowledge which they possess; and their art, acquired by habit alone, is little different from an instinct. We are as little entitled to expect improvement here as in the architecture of the bee or the beaver. The species cannot improve.

Conceive a world-society developed materially far beyond the wildest dreams of America. Unlimited power, derived partly from the artificial disintegration of atoms, partly from the actual annihilation of matter through the union of electrons and protons to form radiation, completely abolished the whole grotesque burden of drudgery which hitherto had seemed the inescapable price of civilization, nay of life itself. The vast economic routine of the world-community was carried on by the mere touching of appropriate buttons. Transport, mining, manufacture, and even agriculture were performed in this manner. And indeed in most cases the systematic co-ordination of these activities was itself the work of self-regulating machinery. Thus, not only was there no longer need for any human beings to spend their lives in unskilled monotonous labour, but further, much that earlier races would have regarded as highly skilled though stereotyped work, was now carried on by machinery. Only the pioneering of industry, the endless exhilarating research, invention, design and reorganization, which is incurred by an ever-changing society, still engaged the minds of men and women. And though this work was of course immense, it could not occupy the whole attention of a great world-community. Thus very much of the energy of the race was free to occupy itself with other no less difficult and exacting matters, or to seek recreation in its many admirable sports and arts. Materially every individual was a multi-millionaire, in that he had at his beck and call a great diversity of powerful mechanisms; but also he was a penniless friar, for he had no vestige of economic control over any other human being. He could fly through the upper air to the ends of the earth in an hour, or hang idle among the clouds all day long. His flying machine was no cumbersome aeroplane, but either a wingless aerial boat, or a mere suit of overalls in which he could disport himself with the freedom of a bird. Not only in the air, but in the sea also, he was free. He could stroll about the ocean bed, or gambol with the deep-sea fishes. And for habitation he could make his home, as he willed, either in a shack in the wilderness or in one of the great pylons which dwarfed the architecture even of the American age. He could possess this huge palace in loneliness and fill it with his possessions, to be automatically cared for without human service; or he could join with others and create a hive of social life. All these amenities he took for granted as the savage takes for granted the air which he breathes. And because they were as universally available as air, no one craved them in excess, and no one grudged another the use of them.

Every building of the gothic period differs in some important respect from every other; and many include features which, if they occur in other buildings, would not be considered gothic at all: so that all we have to reason upon is merely, if we be allowed to express it, a greater r less degree of 'Gothicness' in each building we examine. And it is this 'Gothicness'' - the character which, according as it is found more or less in a building, makes it more or less Gothic, - of which I want to define the nature; and I feel the same kind of difficulty in doing so which would be encountered by anyone who undertook to explain, for instance, the nature of Redness, without any actual red thing to point to, but only orange and purple things. Suppose they had only a piece of heather ad a dead oak-leaf to do it with. They might say, the colour which is mixed with the yellow in the oak-leaf , and with the blue in the heather, would be red.

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 a 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. That’s politics done right, hard-earned, often by war. And yet the glories yielded by such a successful politics lie outside itself. Its deepest purpose is to create the conditions for the cultivation of the finer things, beginning with philosophy and science, and ascending to the ever more delicate and refined arts. Note Adams’ double reference to architecture: The second generation must study naval architecture—a hybrid discipline of war, commerce and science—before the third can freely and securely study architecture for its own sake. The most optimistic implication of Adams’ dictum is that once the first generation gets the political essentials right, they remain intact to nurture the future. Yet he himself once said that “there never was a democracy yet that did not commit suicide.

The world can be validly construed as a forum for action, as well as a place of things. We describe the world as a place of things, using the formal methods of science. The techniques of narrative, however – myth, literature, and drama – portray the world as a forum for action. The two forms of representation have been unnecessarily set at odds, because we have not yet formed a clear picture of their respective domains. The domain of the former is the 'objective world' – what is, from the perspective of intersubjective perception. The domain of the latter is 'the world of value' – what is and what should be, from the perspective of emotion and action. The world as forum for action is 'composed,' essentially, of three constituent elements, which tend to manifest themselves in typical patterns of metaphoric representation. First is unexplored territory – the Great Mother, nature, creative and destructive, source and final resting place of all determinate things. Second is explored territory – the Great Father, culture, protective and tyrannical, cumulative ancestral wisdom. Third is the process that mediates between unexplored and explored territory – the Divine Son, the archetypal individual, creative exploratory 'Word' and vengeful adversary. We are adapted to this 'world of divine characters,' much as the 'objective world.' The fact of this adaptation implies that the environment is in 'reality' a forum for action, as well as a place of things. Unprotected exposure to unexplored territory produces fear. The individual is protected from such fear as a consequence of 'ritual imitation of the Great Father' – as a consequence of the adoption of group identity, which restricts the meaning of things, and confers predictability on social interactions. When identification with the group is made absolute, however – when everything has to be controlled, when the unknown is no longer allowed to exist – the creative exploratory process that updates the group can no longer manifest itself. This 'restriction of adaptive capacity' dramatically increases the probability of social aggression and chaos. Rejection of the unknown is tantamount to 'identification with the devil,' the mythological counterpart and eternal adversary of the world-creating exploratory hero. Such rejection and identification is a consequence of Luciferian pride, which states: all that I know is all that is necessary to know. This pride is totalitarian assumption of omniscience – is adoption of 'God’s place' by 'reason' – is something that inevitably generates a state of personal and social being indistinguishable from hell. This hell develops because creative exploration – impossible, without (humble) acknowledgment of the unknown – constitutes the process that constructs and maintains the protective adaptive structure that gives life much of its acceptable meaning. 'Identification with the devil' amplifies the dangers inherent in group identification, which tends of its own accord towards pathological stultification. Loyalty to personal interest – subjective meaning – can serve as an antidote to the overwhelming temptation constantly posed by the possibility of denying anomaly. Personal interest – subjective meaning – reveals itself at the juncture of explored and unexplored territory, and is indicative of participation in the process that ensures continued healthy individual and societal adaptation. Loyalty to personal interest is equivalent to identification with the archetypal hero – the 'savior' – who upholds his association with the creative 'Word' in the face of death, and in spite of group pressure to conform. Identification with the hero serves to decrease the unbearable motivational valence of the unknown; furthermore, provides the individual with a standpoint that simultaneously transcends and maintains the group.

After Us, the Salamanders!, The Future belongs to the Newts, Newts Mean Cultural Revolution. Even if they don't have their own art (they explained) at least they are not burdened with idiotic ideals, dried up traditions and all the rigid and boring things taught in schools and given the name of poetry, music, architecture, philosophy and culture in any of its forms. The word culture is senile and it makes us sick. Human art has been with us for too long and is worn-out and if the newts have never fallen for it we will make a new art for them. We, the young, will blaze the path for a new world of salamandrism: we wish to be the first newts, we are the salamanders of tomorrow! And so the young poetic movement of salamandrism was born, triton - or tritone - music was composed and pelagic painting, inspired by the shape world of jellyfish, fish and corals, made its appearance. There were also the water regulating structures made by the newts themselves which were discovered as a new source of beauty and dignity. We've had enough of nature, the slogans went; bring on the smooth, concrete shores instead of the old and ragged cliffs! Romanticism is dead; the continents of the future will be outlined with clean straight lines and re-shaped into conic sections and rhombuses; the old geological must be replaced with a world of geometry. In short, there was once again a new trend that was to be the thing of the future, a new aesthetic sensation and new cultural manifestoes; anyone who failed to join in with the rise of salamandrism before it was too late felt bitterly that he had missed his time, and he would take his revenge by making calls for the purity of mankind, a return to the values of the people and nature and other reactionary slogans. A concert of tritone music was booed off the stage in Vienna, at the Salon des Indépendents in Paris a pelagic painting called Capriccio en Bleu was slashed by an unidentified perpetrator; salamandrism was simply victorious, and its rise was unstoppable.

In many fields—literature, music, architecture—the label ‘Modern’ stretches back to the early 20th century. Philosophy is odd in starting its Modern period almost 400 years earlier. This oddity is explained in large measure by a radical 16th century shift in our understanding of nature, a shift that also transformed our understanding of knowledge itself. On our Modern side of this line, thinkers as far back as Galileo Galilei (1564–1642) are engaged in research projects recognizably similar to our own. If we look back to the Pre-Modern era, we see something alien: this era features very different ways of thinking about how nature worked, and how it could be known. To sample the strange flavour of pre-Modern thinking, try the following passage from the Renaissance thinker Paracelsus (1493–1541): The whole world surrounds man as a circle surrounds one point. From this it follows that all things are related to this one point, no differently from an apple seed which is surrounded and preserved by the fruit … Everything that astronomical theory has profoundly fathomed by studying the planetary aspects and the stars … can also be applied to the firmament of the body. Thinkers in this tradition took the universe to revolve around humanity, and sought to gain knowledge of nature by finding parallels between us and the heavens, seeing reality as a symbolic work of art composed with us in mind (see Figure 3). By the 16th century, the idea that everything revolved around and reflected humanity was in danger, threatened by a number of unsettling discoveries, not least the proposal, advanced by Nicolaus Copernicus (1473–1543), that the earth was not actually at the centre of the universe. The old tradition struggled against the rise of the new. Faced with the news that Galileo’s telescopes had detected moons orbiting Jupiter, the traditionally minded scholar Francesco Sizzi argued that such observations were obviously mistaken. According to Sizzi, there could not possibly be more than seven ‘roving planets’ (or heavenly bodies other than the stars), given that there are seven holes in an animal’s head (two eyes, two ears, two nostrils and a mouth), seven metals, and seven days in a week. Sizzi didn’t win that battle. It’s not just that we agree with Galileo that there are more than seven things moving around in the solar system. More fundamentally, we have a different way of thinking about nature and knowledge. We no longer expect there to be any special human significance to natural facts (‘Why seven planets as opposed to eight or 15?’) and we think knowledge will be gained by systematic and open-minded observations of nature rather than the sorts of analogies and patterns to which Sizzi appeals. However, the transition into the Modern era was not an easy one. The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.

The strengths landscape architecture draws from its garden design heritage include: the Vitruvian design tradition of balancing utility, firmness and beauty; use of the word 'landscape' to mean 'a good place' - as the objective of the design process; a comprehensive approach to open space planning involving city parks, greenways and nature outside towns; a planning theory about the contextualisation of development projects; the principle that development plans should be adapted to their landscape context.

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.

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 a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.

Poetry, architecture, music, philosophy and mathematics all intrigued him and he was patron of them all, surrounding himself with men of genius: the poet and satirist Juvenal, the architect Apollodorus, the historians Tacitus, Suetonius and Arrian, the writers Pliny the Younger, Pausanias and Plutarch.

Military expediency aside, how did the new emperor appear to his subjects? Experience, inclination and natural intelligence had made him a polymath, though the demands of his role as emperor, and the infinite resources available to him, left him open to accusations of dilettantism. This charge was unfair; he was unusual in that he genuinely wanted to become adept in many areas himself, rather than simply be served or amused by the ability of others. Throughout his reign his understanding was gained either by direct observation or by the development of skills that he admired in others. Poetry, architecture, music, philosophy and mathematics all intrigued him and he was patron of them all, surrounding himself with men of genius: the poet and satirist Juvenal, the architect Apollodorus, the historians Tacitus, Suetonius and Arrian, the writers Pliny the Younger, Pausanias and Plutarch.

line. Creativity is a response to our environment. Greek painting was a response to the complex light (the Greek painter Apollodoros was the first to develop a technique for creating the illusion of depth), Greek architecture a response to the complex landscape, Greek philosophy a response to the complex, uncertain times. The problem with paradise is that it is perfect and therefore requires no response. This is why wealthy people and places often stagnate. Athens

Just as we will spend large sums to preserve cities like Venice, even though future generations conceivably may not be interested in such architectural treasures, so we should preserve wilderness even though it is possible that future generations will care little for it.

I must study Politicks and War that my sons may have the liberty to study Mathematicks and Philosophy. My sons ought to study Geography, natural History, Naval Architecture, navigation, Commerce and Agriculture, in order to give their children a right to study Painting, Poetry, Musick, Architecutre, Statuary, Tapestry, and Porcelaine.

Words are just the ashes of emotion, the residue of feeling.

Lurking in roughly equal preeminence in humankind’s angst-ridden soul is an antipodal nature, a righteous persona manacled to an agathokakological creature. The species Homo sapiens creates art, literature, music, poetry, architecture, and developed mathematics and philosophy. This creature is also prone to homicide, equipped for rape and sadism, inclined towards religious violence and secular killings, and capable of torture and cannibalism.

So much that it seems consistent only for porosity37—seen as a kind of productive fragility that overcomes rigid dualisms—to be the key concept by which the nature of the city is revealed and interpreted in all its profundity. Porosity is the principle of the true life of Naples: At the base of the cliff itself, where it touches the shore, caves have been hewn. As in the paintings of hermits from the Trecento, a door appears here and there in the cliffs. If it is open, one looks into large cellars that are at once sleeping places and storerooms. Steps also lead to the sea, to fishermen’s taverns that have been installed in natural grottoes. Faint light and thin music rise up from there in the evening. As porous as those stones is the architecture. Buildings and action merge in courtyards, arcades, and staircases. The space is preserved to act as a stage for new and unforeseen configurations. What is avoided is the definitive, the fully formed. No situation appears as it is, intended forever, no form asserts its “thus and not otherwise.” . . . Because nothing is finished and concluded. Porosity results not only from the indolence of the southern craftsman but above all from the passion for improvisation. For that space and opportunity must be preserved at all costs. Buildings are used as a popular stage. They are divided into innumerable theaters, animated simultaneously. All share innumerable stages, brought to life simultaneously. Balcony, forecourt, window, gateway, staircase, roof are at once stage and theater box. Even the most miserable wretch is sovereign in his dim, twofold awareness of contributing, however deprived he may be, to one of the images of the Neapolitan street that will never return and, in his poverty, the leisure of enjoying the grand panorama. What is played out on the stairs is the highest school in theatrical direction. The stairs, never entirely revealed, but closed off in the dull northern house-

To justify becoming a nation, the land and the people must have produced an unifying culture. By culture I do not mean folklore, cooking patterns and nationalistic myths. I mean music which all respond to. I mean architecture which constructs buildings of spatial and utilitarian importance. I mean conscious poetry, not doggerel. I mean great novels which generate and define a people's aspirations. And above all, I mean a creation of philosophy which will underlie all acts passed by your parliaments, all utterances made by your teachers and professors. The accumulation of such culture requires time and dedication of men and women who know what they're doing.

The Catholic Church’s policy of blaming women and sex for the ills of the world came to full fruition in the late Middle Ages and on into the Renaissance. At minimum, hundreds of thousands of innocent women and men were hunted down, tortured horribly, reduced to physical, social, and economic wreckage, or burnt at the stake for being “witches”. The Catholic Church, so obsessed with it’s paranoid, irrational, illogical, and superstitious fantasies, deliberately tortured and executed human beings for a period of three hundred years. All this carnage, due to the Church's fear of learning, kept Europe in the throws of abysmal ignorance for a thousand years. What has been lacking in the world since the fall of the ancient world is a logical view of the godhead. To the Greek and Roman mind the gods were utilitarian; that is they offered convenient place to appreciate human archetypes. Sin and redemption from sin had nothing to do with the gods. The classic Greek and Roman gods did not offer recompense in life nor a heavenly afterlife as reward. Rather morality was determined by your service to humanity whether it was in the form of philosophy, science, art, architecture, engineering, leadership, or conquest. In this way humanity could live up to great potential instead of wasting their energy on worship, and false promises For almost a thousand years after the fall of Rome the Catholic Church’s control of society and law guaranteed that woman’s position was degraded to that of a second class citizen, far below the ancient Roman standard. Every literary reference depicts women as inferior, unworthy of inheritance, foolish, lustful and sinful. The Church ordained wife beating and encouraged total obedience to fathers and husbands. Women generally could not own land, join a guild, nor earn money like a man. Despite all this, a series of events unfolded; the crusades, rebirth of classical ideas, the printing press, the Reformation, and the Renaissance, all of which began to move womankind forward. VALENTINES DAY CARDS The Lupercalia festival of the New Year became an orgiastic carnival. A lottery ceremony ensued where men chose their sexual partners by choosing small bits of paper naming each woman present. Later the Christians, trying to incorporate and tame this sexual festival substituted the mythical saint Valentine; and ‘the cards of lust’ evolved into the valentine cards we exchange today.

When this story opens at the birth of Christ, the European landscape was marked by extraordinary contrasts. The circle of the Mediterranean, newly united under Roman imperial domination, hosted a politically sophisticated, economically advanced and culturally developed civilization. This world had philosophy, banking, professional armies, literature, stunning architecture and rubbish collection. Otherwise, apart from some bits west of the Rhine and south of the Danube which were already beginning to march to the tune of a more Mediterranean beat, the rest of Europe was home to subsistence-level farmers, organized in small-scale political units. Much of it was dominated by Germanic-speakers, who had some iron tools and weapons, but who worked generally in wood, had little literacy and never built in stone. The further east you went, the simpler it all became: fewer iron tools, less productive agricultures and a lower population density. This was, in fact, the ancient world in western Eurasia: a dominant Mediterranean circle lording it over an undeveloped northern hinterland. Move forward a thousand years, and the world had turned. Not only had Slavic-speakers replaced Germanic-speakers as the dominant force over much of barbarian Europe, and some Germanic-speakers replaced Romans and Celts in some of the rest, but, even more fundamentally, Mediterranean dominance had been broken. Politically, this was caused by the emergence of larger and more solid state formations in the old northern hinterland, as exemplified by the Moravians, but the pattern was not limited to politics. By the year 1000, many of the Mediterranean's cultural patterns - not least Christianity, literacy and building in stone - were also spreading north and east. Essentially, patterns of human organization were moving towards much greater homogeneity right across the European landmass. It was these new state and cultural structures that broke for ever the ancient world order of Mediterranean domination. Barbarian Europe was barbarian no longer. The ancient world order had given way to cultural and political patterns that were more directly ancestral to those of modern Europe.

We are becoming too solemn about downtown. The architects, planners—and businessmen—are seized with dreams of order, and they have become fascinated with scale models and bird’s-eye views. This is a vicarious way to deal with reality, and it is, unhappily, symptomatic of a design philosophy now dominant: buildings come first, for the goal is to remake the city to fit an abstract concept of what, logically, it should be. But whose logic? The logic of the projects is the logic of egocentric children, playing with pretty blocks and shouting “See what I made!”—a viewpoint much cultivated in our schools of architecture and design. And citizens who should know better are so fascinated by the sheer process of rebuilding that the end results are secondary to them.

The visible present is not in time and space, nor, of course, outside of them: there is nothing before it, after it, about it, that could compete with its visibility. And yet it is not alone, it is not everything. To put it precisely, it stops up my view, that is, time and space extend beyond the visible present, and at the same time they are behind it, in depth, in hiding. The visible can thus fill me and occupy me only because I who see it do not see it from the depths of nothingness, but from the midst of itself; I the seer am also visible. What makes the weight, the thickness, the flesh of each color, of each sound, of each tactile texture, of the present, and of the world is the fact that he who grasps them feels himself emerge from them by a sort of coiling up or redoubling, fundamentally homogeneous with them; he feels that he is the sensible itself coming to itself and that in return the sensible is in his eyes as it were his double or an extension of his own flesh. The space, the time of the things are shreds of himself, of his own spatialization, of his own temporalization, are no longer a multiplicity of individuals synchronically and diachronically distributed, but a relief of the simultaneous and of the successive, a spatial and temporal pulp where the individuals are formed by differentiation. The things—here, there, now, then—are no longer in themselves, in their own place, in their own time; they exist only at the end of those rays of spatiality and of temporality emitted in the secrecy of my flesh. And their solidity is not that of a pure object which the mind soars over; I experience their solidity from within insofar as I am among them and insofar as they communicate through me as a sentient thing. Like the memory screen of the psychoanalysts, the present, the visible counts so much for me and has an absolute prestige for me only by reason of this immense latent content of the past, the future, and the elsewhere, which it announces and which it conceals. There is therefore no need to add to the multiplicity of spatio-temporal atoms a transversal dimension of essences—what there is is a whole architecture, a whole complex of phenomena "in tiers," a whole series of "levels of being," which are differentiated by the coiling up of the visible and the universal over a certain visible wherein it is redoubled and inscribed. Fact and essence can no longer be distinguished, not because, mixed up in our experience, they in their purity would be inaccessible and would subsist as limit-ideas beyond our experience, but because—Being no longer being before me, but surrounding me and in a sense traversing me, and my vision of Being not forming itself from elsewhere, but from the midst of Being—the alleged facts, the spatio-temporal individuals, are from the first mounted on the axes, the pivots, the dimensions, the generality of my body, and the ideas are therefore already encrusted in its joints. There is no emplacement of space and time that would not be a variant of the others, as they are of it; there is no individual that would not be representative of a species or of a family of beings, would not have, would not be a certain style, a certain manner of managing the domain of space and time over which it has competency, of pronouncing, of articulating that domain, of radiating about a wholly virtual center—in short, a certain manner of being, in the active sense, a certain Wesen, in the sense that, says Heidegger, this word has when it is used as a verb. In short, there is no essence, no idea, that does not adhere to a domain of history and of geography. Not that it is confined there and inaccessible for the others, but because, like that of nature, the space or time of culture is not surveyable from above, and because the communication from one constituted culture to another occurs through the wild region wherein they all have originated.

Orchestration-Driven Service-Oriented Architecture Architecture styles, like art movements, must be understood in the context of the era in which they evolved, and this architecture exemplifies this rule more than any other. The combination of external forces that often influence architecture decisions, combined with a logical but ultimately disastrous organizational philosophy, doomed this architecture to irrelevance. However, it provides a great example of how a particular organizational idea can make logical sense yet hinder most important parts of the development process.

More while less, thats good design

In the German city-states there emerged thereafter a high culture, in which literature, philosophy, music, art and architecture were all spurred on by the rivalry of local sovereigns and the spread of Enlightenment ideas.

Au lieu de rehausser le prestige de leur civilisation, au lieu de souligner sa contribution à l’aventure humaine dans les mathématiques, l’architecture, la médecine ou la philosophie, au lieu de rappeler à leurs contemporains les grandes heures de Cordoue, de Grenade, de Fès, d’Alexandrie, de Syrte, de Bagdad, de Damas ou d’Alep, les descendants des sublimes bâtisseurs d’hier se montrent indignes de l’héritage dont ils sont les dépositaires.

As biological beings, we humans - anchored to our biology - can only experience a thermodynamic arrow of time in one direction but given our rapid technological advances and the forthcoming Cybernetic Singularity, that might change for good. The ultimate effects of future developments may appear quite strange to us, present-day humans, as the emergence of things like personalized 'non-linear' reality and fluid distributed identity could challenge our current biological and cultural assumptions. The resulting 'identity' architectures will transform our notion of personhood and form the kernel of posthuman civilization.

Ce qui caractérise, entre autres, l'esprit rationaliste, c'est un sens critique rétrospectif, non prospectif ; la psychose de la « civilisation » et du « progrès » en témoignent à satiété. De toute évidence, le sens critique est en lui même un bien qui s'impose, mais il exige un contexte spirituel qui le justifie et le proportionne. Il n'y a rien de surprenant à ce que l'esthétique des rationalistes n'admette que l'art de l'Antiquité classique, lequel inspira en fait la Renaissance, puis le monde des encyclopédistes, de la Révolution française et, très largement, tout le XIXe siècle ; or cet art — que d'ailleurs Platon n'appréciait pas — frappe par sa combinaison de rationalité et de passion sensuelle : son architecture a quelque chose de froid et de pauvre — spirituellement parlant — tandis que sa statuaire manque totalement de transparence métaphysique et partant de profondeur contemplative. C'est tout ce que des cérébraux invétérés peuvent désirer. Un rationaliste peut avoir raison — l'homme n'étant pas un système clos — avons-nous dit plus haut. On rencontre en effet, dans la philosophie moderne, des aperçus valables ; n'empêche que leur contexte général les compromet et les affaiblit. Ainsi, l'« impératif catégorique » ne signifie pas grand chose de la part d'un penseur qui nie la métaphysique et avec elle les causes transcendantes des principes moraux, et qui ignore que la moralité intrinsèque est avant tout notre conformité à la nature de l'Être.

Conceptual integrity does require that a system reflect a single philosophy and that the specification as seen by the user flow from a few minds. Because of the real division of labor into architecture, implementation, and realization, however, this does not imply that a system so designed will take longer to build. Experience shows the opposite, that the integral system goes together faster and takes less time to test. In effect, a widespread horizontal division of labor has been sharply reduced by a vertical division of labor, and the result is radically simplified communications and improved conceptual integrity.

To hear some thinkers of the eighteenth and nineteenth centuries say it, the people of Greece had it all figured out two millennia ago. That’s not even remotely true, but what ancient Greece did accomplish in terms of science, architecture, literature, art, and philosophy is certainly enough to explain why so many people have come away with the impression.

My friends, I study politics and war, that my children may have liberty to study mathematics and philosophy. My children study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce, and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry, and porcelain.

India has the deepest philosophy still expressed in a vibrant religion, a huge body of literature, amazing art, dance, music, sculpture, architecture, delicious cuisine and yet Indians are in denial mode and wake up only when foreigners treasure India,’ wrote Wirth. ‘They don’t seem to know the value and, therefore, don’t take pride in their tradition, unlike Westerners who take a lot of pride in theirs, even if there is little to be proud of.

What set great presidents apart was their intellectual curiosity and openness. They read widely and were as eager to learn about developments in biology, philosophy, architecture, and music as in domestic and foreign affairs.

Antti Lovag called his philosophy of architecture habitology, because he believed that what people needed were not homes but habitats, places that truly supported human flourishing

Since the days when ancient Greeks stole advanced concepts of architecture, philosophy, and mathematics right out of the palms of Africans, whites have been taking credit for Black successes, co-opting our ingenuity at every turn.

Christianity pervades with its leavening power all the faculties of man and all departments of life. It is foreign to nothing which God has made. It is in harmony with all that is true, and beautiful, and good. It is friendly to philosophy, science, and art, and takes them into its service. Poetry, music, and architecture achieve their highest mission as handmaids of religion, and have derived the inspiration for their noblest works from the Bible. Whatever proceeds from God must return to God and spread his glory.

I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.

In its fusion of positive and negative, of ignorance on the way to further knowledge, wonder reveals itself as having the same structure as hope, the same architecture as hope--the structure that characterizes philosophy and, indeed, human existence itself. We are essentially viatores, on the way, beings who are "not yet." Who could claim to possess the being intended for him? "We are not," says Pascal, "we hope to be." And it is because the structure of wonder is that of hope that it is so essentially human and so essential to a human existence.

Choice architecture in domains from human resource departments to social security to health care must use some combination of curation and navigation tools. If they don’t, people will flounder. As we have mentioned, some people have a simple philosophy: Just Maximize Choices. That’s not always a bad idea, but it can be problematic without sophisticated choice architecture tools. Instead, a well-curated small selection and/or a good default can produce quite satisfactory outcomes.

Virtue ethics as studied here does not always fit well into certain alien molds, as much as we might hope—molds that are humanistic, secular, Western, or democratic. Rather, writings on virtue seem to have fit and to continue to fit into a much larger body of knowledge, a framework from which thinkers drew their own “Islamic” ethics. Evidence for this can be found in the stories that Muslims told, and those they still tell, which make use of various branches of moral learning more freely than what is observed in writings specific to one science or another. Those who advocated scripture or voluntarism cannot be excluded from this. Sciences such as philosophy and Sufism could be considered tools in almost any scholar’s toolbox, even if the overall epistemological architecture of that science contravened that scholar’s claims. Such was the case with Ghazālī’s use of philosophy. While he has been presented as appropriating humanistic virtue ethics, Ghazālī, like his later Shiʿi interpreter Fayd. Kāshānī (d. 1679), reminded Muslim readers that religious law and virtue ethics (both philosophical and Sufi virtue ethics) have a common goal, the achievement of ultimate happiness through the perfection of the soul. For advocates of traditional Islamic law, Ghazālī’s intellectual mission typifies a recurring corrective in Islam, perhaps because of Islam’s rich and hermeneutically complex legal tradition: to caution readers not to lose sight of Islam’s larger ethical aims by becoming absorbed with ritual technicalities or divinely commanded limits. Such reminders can be found today to an even greater extent than in the past. New philosophical positions have meant that Muslim thinkers interested in “God’s law” often return to it with insights gleaned from the Western ethical traditions. Networks of ethical reasoning that exist today, moreover, mean that almost no moral decision can truly be made in a scriptural void, just as they could not in the past. The salience of certain single-minded interpretations of Islam often brings us to forget that on a day-to-day basis, a Muslim (like any moral agent) draws on multiple pools of knowledge and culture to make any decision or develop any habit.

In Latin the word ‘museum’ once indicated ‘a temple of the Muses’; in what respects is the modern museum the right place to preserve treasures from a classical temple? Does it only look the part? The issues raised by Bassae provide a model for understanding Classics in its widest sense. Of course, Classics is about more than the physical remains, the architecture, sculpture, pottery, and painting, of ancient Greece and Rome. It is also (to select just a few things) about the poetry, drama, philosophy, science, and history written in the ancient world, and still read and debated as part of our culture. But here too, essentially similar issues are at stake, questions about how we are to read literature which has a history of more than 2,000 years, written in a society very distant and different from our own.