Architecture Related Quotes

Our homes do not have to offer us permanent occupancy or store our clothes to merit the name. To speak of home in relation to a building is simply to recognise its harmony with our own prized internal song. Home can be an airport or a library, a garden or a motorway diner.

Now that she was in the secret, now that she knew something that so much concerned her and the eclipse of which had made life resemble an attempt to play whilst with an imperfect pack of cards, the truth of things, their mutual relations, their meaning, and for the most part their horror, rose before her with a kind of architectural vastness.

A revolution which can transform modes of production but not types of speech, social relations but not styles of architecture, remains radically incomplete.

1."All rules for study are summed up in this one: learn only in order to create." 2"The human brain is the highest bloom of the whole organic metamorphosis of the earth." 3 "The failure to invest in civil justice is directly related to the increase in criminal disorder. The more people feel there is injustice the more it becomes part of their psyche." 4."Architecture in general is frozen music." ~ Friedrich Wilhelm Joseph Schelling

Thus nature provides a system for proportioning the growth of plants that satisfies the three canons of architecture. All modules are isotropic and they are related to the whole structure of the plant through self-similar spirals proportioned by the golden mean.

There is scarcely any great author in European literature, old or new, who has not distinguished himself in his treatment of the supernatural. In English literature, I believe there is no exception from the time of the Anglo-Saxon poets to Shakespeare, and from Shakespeare to our own day. And this introduces us to the consideration of a general and remarkable fact, a fact that I do not remember to have seen in any books, but which is of very great philosophical importance: there is something ghostly in all great art, whether of literature, music, sculpture, or architecture. It touches something within us that relates to infinity

My children, let us not do that again. I, for one, am too old for shit even vaguely related to that.

What’s amazing is that things like hashtag design—these essentially ad hoc experiments in digital architecture—have shaped so much of our political discourse. Our world would be different if Anonymous hadn’t been the default username on 4chan, or if every social media platform didn’t center on the personal profile, or if YouTube algorithms didn’t show viewers increasingly extreme content to retain their attention, or if hashtags and retweets simply didn’t exist. It’s because of the hashtag, the retweet, and the profile that solidarity on the internet gets inextricably tangled up with visibility, identity, and self-promotion. It’s telling that the most mainstream gestures of solidarity are pure representation, like viral reposts or avatar photos with cause-related filters, and meanwhile the actual mechanisms through which political solidarity is enacted, like strikes and boycotts, still exist on the fringe.

The manner in which the Americans are subdivided into sects also conflicts with any commendable desire that may exist to build glorious temples in honor of the Deity: and convenience is more consulted than taste, perhaps, in all that relates to ecclesiastical architecture. Nevertheless,

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

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.

The intelligence we will create from the reverse-engineering of the brain will have access to its own source code and will be able to rapidly improve itself in an accelerating iterative design cycle. Although there is considerable plasticity in the biological human brain, as we have seen, it does have a relatively fixed architecture, which cannot be significantly modified, as well as a limited capacity. We are unable to increase its 300 million pattern recognizers to, say, 400 million unless we do so nonbiologically. Once we can achieve that, there will be no reason to stop at a particular level of capability. We can go on to make it a billion pattern recognizers, or a trillion.

Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line. There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now.

To speak of home in relation to a building is simply to recognise its harmony with our own prized internal song.

Toxic stress response can occur when a child experiences strong, frequent, and/or prolonged adversity—such as physical or emotional abuse, neglect, caregiver substance abuse or mental illness, exposure to violence, and/or the accumulated burdens of family economic hardship—without adequate adult support. This kind of prolonged activation of the stress-response systems can disrupt the development of brain architecture and other organ systems, and increase the risk for stress-related disease and cognitive impairment, well into the adult years.

The Nephilim (Aldebaran’s extraterrestrials in Maria’s messages) who survived the great deluge returned to Phoenicia; the Bible made reference to their return. They lived with the Phoenicians for 33 years and 33 days in Tyre, Sidon, Byblos, and Baalbeck. The number 33.33 represents the period of the Tana-wir or Tanwir, which means enlightenment. The number 33.33 became the most important and the most secret number in Phoenician occultism, architecture, and numerology, because it refers to their place of origin, Jabal Haramoun (Mt. Hermon in Lebanon) which is located exactly at 33.33° East and 33.33° North.)   The number 33 is equally important in the Masonic rite King Hiram created with the assistance of King Solomon. This number is closely related to the compass and square, which were given to the Phoenicians as a gift from the Anunnaki lords. This explains how and why the early Phoenicians excelled in building ships, navigation and land-seas maps making, and surpassed their neighbors in these fields, beyond belief! Worth mentioning here, that the Egyptian Sphinx was built some 11,000 years ago, before the Biblical Great Flood by the early Phoenicians, the Nephilim and an army of Djinns created by the Anunnaki.

What is known and what is unknown is always relative because what is unexpected depends entirely upon what we expect (desire)-- on what we had previously planned and presumed. The unexpected constantly occurs because it is impossible, in the absence of omniscience, to formulate an entirely accurate model of what actually is happening or of what should happen.

I was endlessly vigilant. I focused my energy on controlling my surroundings. I managed my new reality by trying to will into existence a way to move through each day. I was entirely uncentered. For anyone who can relate to this, you know that substituting an external architecture for an internal sense of structure can be bulletproof for a time. But only for a time.

All my life I have wondered about the possibility of life elsewhere. What would it be like? Of what would it be made? All living things on our planet are constructed of organic molecules—complex microscopic architectures in which the carbon atom plays a central role. There was once a time before life, when the Earth was barren and utterly desolate. Our world is now overflowing with life. How did it come about? How, in the absence of life, were carbon-based organic molecules made? How did the first living things arise? How did life evolve to produce beings as elaborate and complex as we, able to explore the mystery of our own origins? And on the countless other planets that may circle other suns, is there life also? Is extraterrestrial life, if it exists, based on the same organic molecules as life on Earth? Do the beings of other worlds look much like life on Earth? Or are they stunningly different—other adaptations to other environments? What else is possible? The nature of life on Earth and the search for life elsewhere are two sides of the same question—the search for who we are. In the great dark between the stars there are clouds of gas and dust and organic matter. Dozens of different kinds of organic molecules have been found there by radio telescopes. The abundance of these molecules suggests that the stuff of life is everywhere. Perhaps the origin and evolution of life is, given enough time, a cosmic inevitability. On some of the billions of planets in the Milky Way Galaxy, life may never arise. On others, it may arise and die out, or never evolve beyond its simplest forms. And on some small fraction of worlds there may develop intelligences and civilizations more advanced than our own. Occasionally someone remarks on what a lucky coincidence it is that the Earth is perfectly suitable for life—moderate temperatures, liquid water, oxygen atmosphere, and so on. But this is, at least in part, a confusion of cause and effect. We earthlings are supremely well adapted to the environment of the Earth because we grew up here. Those earlier forms of life that were not well adapted died. We are descended from the organisms that did well. Organisms that evolve on a quite different world will doubtless sing its praises too. All life on Earth is closely related. We have a common organic chemistry and a common evolutionary heritage. As a result, our biologists are profoundly limited. They study only a single kind of biology, one lonely theme in the music of life. Is this faint and reedy tune the only voice for thousands of light-years? Or is there a kind of cosmic fugue, with themes and counterpoints, dissonances and harmonies, a billion different voices playing the life music of the Galaxy? Let

It is the question of "common world". The meaning of this world is not solipsism world, the world of "ego", but the world which can be actualize by my consciousness – according to relation of “ego” and caring for another in everyday life. To care for another means one lets go of self-consciousness and self-awareness and relates. We should consider human is constructed directly in term of their own consciousness and not by contrasting that consciousness with a reality independent of them, on the other hand it is constructed separate of his consciousness. So, we should surely consider the relation of human and the world. It seems that what can link these levels is “life-world” which means the idea of releasing human from worldlessness. Life-world as general sphere of individual experience in the world around (including other persons, objects and events) is a real and concrete phenomenon which has root in everyday life for obtaining its living practical purposes and objectively, considered as the basis of knowledge, interests, benefits and common links between humans. In the realm of life-world, transcendence and consciousness link to individual and group relationship and everyday life. For Heidegger consciousness proceeds from understanding, and this understanding is predicated upon our dealings in the world. Consciousness does not belong to the world. It has a practical relationship with it. What is within consciousness is the exact meaning of the word nothing. Consciousness is nothing but an opening to what they are and can only be talked about in this sense. Consciousness is the relationship we experience in praxis. As for a footballer, bodybuilding and fitness is nothing but the relationship he experiences in act, the day of the race and the subsequent races. Therefore, in this meaning, world without consciousness, intersubjectivity relationships -Alfred Schutz calls this quality as we- pure relation- and everyday life is not imaginable. Because of this matter we can't talk about the world without considering the roles of above items. "As Husserl articulated the life-world can be said to include the world of science and action can’t be without world." Even Architecture is not separate from these issues as the communicative. A part of Professor Pezhman Mosleh speech, “Music, Anti-war, a way to Discourse” Istanbul 2016

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.

No one could discuss racial justice with President Eisenhower without coming away with mixed emotions. His personal sincerity on the issue was pronounced, and he had a magnificent capacity to communicate it to individuals. However, he had no ability to translate it to the public, or to define the problem as a supreme domestic issue. I have always felt that he failed because he knew that his colleagues and advisers did not share his views, and he had no disposition to fight even for cherished beliefs. Moreover, President Eisenhower could not be committed to anything which involved a structural change in the architecture of American society. His conservatism was fixed and rigid, and any evil defacing the nation had to be extracted bit by bit with a tweezer because the surgeon's knife was an instrument too radical to touch this best of all possible societies.

Church growth experts tell us that most people seeking a new church care little about its doctrines. They're mostly interested in the facilities of the church, its nursery, and opportunities for friendship. . . .The experts tell us that today's church members will switch churches at a moment's notice if they think that their personal and relational needs will be better met elsewhere--even if the doctrine taught is at best, suspect. Thus some will opt for better facilities and architecture even at the expense of jeopardizing their own soul.

We wrote our software to know the detailed structure of the disk. It knew that the disk had 200 cylinders and 10 heads, and that each cylinder had several dozen sectors per head. It knew which cylinders held the Agents, Employers, and Members. All this was hard-wired into the code. ... One day a more experienced programmer joined our ranks. When he saw what we had done, the blood drained from his face, and he stared aghast at us, as if we were aliens of some kind. Then he gently advised us to change our addressing scheme to use relative addresses.

A good writer is likely to know and use, or find out and use, the words for common architectural features, like "lintel," "newel post," "corbelling," "abutment," and the concrete or stone "hems" alongisde the steps leading up into churches or public buildings; the names of carpenters' or pumbers' tools, artists' materials, or whatever furniture, implements, or processes his characters work with; and the names of common household items, including those we do not usually hear named, often as we use them. Above all, the writer should stretch his vocabulary of ordinary words and idioms--words and idioms he sees all the time and knows how to use but never uses. I mean here not language that smells of the lamp but relatively common verbs, nouns, and adjectives. The serious-mined way to vocabulary is to read through a dictionary, making lists of all the common words one happens never to use. And of course the really serious-minded way is to study languages--learn Greek, Latin, and one or two modern languages. Among writers of the first rank one can name very few who were not or are not fluent in at least two. Tolstoy, who spoke Russian, French, and English easily, and other languages and dialects with more difficulty, studied Greek in his forties.

It is the question of "common world". The meaning of this world is not solipsism world, the world of "ego", but the world which can be actualize by my consciousness -according to relation of “ego” and caring for another in everyday life. To care for another means one lets go of self-consciousness and self-awareness and relates. We should consider human is constructed directly in term of their own consciousness and not by contrasting that consciousness with a reality independent of them, on the other hand it is constructed separate of his consciousness. So, we should surely consider the relation of human and the world. It seems that what can link these levels is “life-world” which means the idea of releasing human from worldlessness. Life-world as general sphere of individual experience in the world around (including other persons, objects and events) is a real and concrete phenomenon which has root in everyday life for obtaining its living practical purposes and objectively, considered as the basis of knowledge, interests, benefits and common links between humans. In the realm of life-world, transcendence and consciousness link to individual and group relationship and everyday life. For Heidegger consciousness proceeds from understanding, and this understanding is predicated upon our dealings in the world. Consciousness does not belong to the world, but has a practical relationship with it. What is within consciousness is the exact meaning of the word nothing. Consciousness is nothing but an opening to what they are and can only be talked about in this sense. Consciousness is the relationship we experience in praxis. As for a footballer, bodybuilding and fitness is nothing but the relationship he experiences in act, the day of the race and the subsequent races. Therefore, in this meaning, world without consciousness, intersubjectivity relationships -Alfred Schutz calls this quality as we- pure relation- and everyday life is not imaginable. Because of this matter we can't talk about the world without considering the roles of above items. "As Husserl articulated the life-world can be said to include the world of science and action can’t be without world." We should consider that thought itself arises out of incidents of living experience and must remain bound to them as the only guideposts by which to take its bearings. The artist who continually experiment the possibility of thinking and experience The new, respond to what addressed itself to him, because the new cannot be preconceived. On the other hand The new emerges through process as a shudder that presents itself to us. Even Architecture is not separate from these issues as the communicative. A part of Professor Pezhman Mosleh speech, “Music, Anti-war, a way to Discourse

The conclusion that the Egyptians of the Old Kingdom were acquainted with both the Fibonacci series and the Golden Section, says Stecchini, is so startling in relation to current assumptions about the level of Egyptian mathematics that it could hardly have been accepted on the basis of Herodotus' statement alone, or on the fact that the phi [golden] proportion happens to be incorporated in the Great Pyramid. But the many measurements made by Professor Jean Philippe Lauer, says Stecchini, definitely prove the occurrence of the Golden Section throughout the architecture of the Old Kingdom.... Schwaller de Lubicz also found graphic evidence that the pharonic Egyptians had worked out a direct relation between pi and phi in that pi = phi^2 x 6/5.

The ideal of progress also should not be confused with the 20th-century movement to re-engineer society for the convenience of technocrats and planners, which the political scientist James Scott calls Authoritarian High Modernism.14 The movement denied the existence of human nature, with its messy needs for beauty, nature, tradition, and social intimacy. Starting from a “clean tablecloth,” the modernists designed urban renewal projects that replaced vibrant neighborhoods with freeways, high-rises, windswept plazas, and brutalist architecture. “Mankind will be reborn,” they theorized, and “live in an ordered relation to the whole.” Though these developments were sometimes linked to the word progress, the usage was ironic: “progress” unguided by humanism is not progress.

Jobs’s reluctance to make the Mac compatible with the architecture of the Lisa was motivated by more than rivalry or revenge. There was a philosophical component, one that was related to his penchant for control. He believed that for a computer to be truly great, its hardware and its software had to be tightly linked. When a computer was open to running software that also worked on other computers, it would end up sacrificing some functionality. The best products, he believed, were “whole widgets” that were designed end-to-end, with the software closely tailored to the hardware and vice versa. This is what would distinguish the Macintosh, which had an operating system that worked only on its own hardware, from the environment that Microsoft was creating, in which its operating system could be used on hardware made by many different companies.

The scientific principles that man employs to obtain the foreknowledge of an eclipse, or of anything else relating to the motion of the heavenly bodies, are contained chiefly in that part of science which is called trigonometry, or the properties of a triangle, which, when applied to the study of the heavenly bodies, is called astronomy; when applied to direct the course of a ship on the ocean, it is called navigation; when applied to the construction of figures drawn by rule and compass, it is called geometry; when applied to the construction of plans or edifices, it is called architecture; when applied to the measurement of any portion of the surface of the earth, it is called land surveying. In fine, it is the soul of science; it is an eternal truth; it contains the mathematical demonstration of which man speaks, and the extent of its uses is unknown.

Blood and Roses was a trading game, along the lines of Monopoly. The Blood side played with human atrocities for the counters, atrocities on a large scale: individual rapes and murders didn’t count, there had to have been a large number of people wiped out. Massacres, genocides, that sort of thing. The Roses side played with human achievements. Artworks, scientific breakthroughs, stellar works of architecture, helpful inventions. Monuments to the soul’s magnificence, they were called in the game. There were sidebar buttons, so that if you didn’t know what Crime and Punishment was, or the Theory of Relativity, or the Trail of Tears, or Madame Bovary, or the Hundred Years’ War, or The Flight into Egypt, you could double-click and get an illustrated rundown, in two choices: R for children, PON for Profanity, Obscenity, and Nudity. That was the thing about history, said Crake: it had lots of all three. You

Hence the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power. So to arrange things that the surveillance is permanent in its effects, even if it is discontinuous in its action; that the perfection of power should tend to render its actual exercise unnecessary; that this architectural apparatus should be a machine for creating and sustaining a power relation independent of the person who exercises it; in short, that the inmates should be caught up in a power situation of which they are themselves the bearers. To achieve this, it is at once too much and too little that the prisoner should be constantly observed by an inspector: too little, for what matters is that he knows himself to be observed; too much, because he has no need in fact of being so. In view of this, Bentham laid down the principle that power should be visible and unverifiable. Visible: the inmate will constantly have before his eyes the tall outline of the central tower from which he is spied upon. Unverifiable: the inmate must never know whether he is being looked at at any one moment; but he must be sure that he may always be so.

Music by and for itself is not so portentous for our inward nature, so deeply moving, that it ought to be looked upon as the direct language of the feelings; but its ancient union with poetry has infused so much symbolism into rhythmical movement, into loudness and softness of tone, that we now imagine it speaks directly to and comes from the inward nature. Dramatic music is only possible when the art of harmony has acquired an immense range of symbolical means, through song, opera, and a hundred attempts at description by sound. "Absolute music" is either form per se, in the rude condition of music, when playing in time and with various degrees of strength gives pleasure, or the symbolism of form which speaks to the understanding even without poetry, after the two arts were joined finally together after long development and the musical form had been woven about with threads of meaning and feeling. People who are backward in musical development can appreciate a piece of harmony merely as execution, whilst those who are advanced will comprehend it symbolically. No music is deep and full of meaning in itself, it does not speak of "will," of the "thing-in-itself"; that could be imagined by the intellect only in an age which had conquered for musical symbolism the entire range of inner life. It was the intellect itself that first gave this meaning to sound, just as it also gave meaning to the relation between lines and masses in architecture, but which in itself is quite foreign to mechanical laws.

Modeling the evolution of modularity became significantly easier after a kind of genetic variation was discovered by quantitative trait locus (QTL) mapping in the lab of James Cheverud at Washington University called 'relationship QTL' or r-QTL for short. An r-QTL is a genetic locus that affects the correlations between two quantitative traits (i.e. their variational relationship, and therefore, 'relationship' loci). Surprisingly, a large fraction of these so-mapped loci are also neutral with respect to the character mean. This means one can select on these 'neutral' r-QTLs without simultaneously changing the character mean in a certain way. It was easy to show that differential directional selection on a character could easily lead a decrease in genetic correlation between characters. Of course, it is not guaranteed that each and every population has the right kind of r-QTL polymorphisms, nor is it yet clear what kind of genetic architecture allows for the existence of an r-QTL. Nevertheless, these findings make it plausible that differential directional selection can enhance the genetic/variational individuality of traits and, thus, may play a role in the origin of evolutionary novelties by selecting for variational individuality. It must be added, though, that there has been relatively little research in this area and that we will need to see more to determine whether we understand what is going on here, if anything. In particular, one difficulty is the mathematical modeling of gene interaction (epistasis), because the details of an epistasis model determine the outcome of the evolution by natural selection. One result shows that natural selection increases or decreases mutational variance, depending on whether the average epistatic effects are positive or negative. This means that the genetic architecture is more determined by the genetic architecture that we start with than by the nature of the selection forces that act upon it. In other words, the evolution of a genetic architecture could be arbitrary with respect to selection.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

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 logical architecture diagram describes the key components of the system. A typical diagram takes a separation-of-concerns approach where there is a section relating to the user interface, a section for the core system capabilities (this is where most of the business rules exist), a section for the persistence layer (your data storage mechanism), and a section for any crosscutting concerns such as security, logging, reporting, and so on.

The goal of architectural design is to create an architecture with a set of architectural properties that form a superset of the system requirements. The relative importance of the various architectural properties depends on the nature of the intended system.

Sweden’s capital is an expansive and peaceful place for solo travellers. It is made up of 14 islands, connected by 50 bridges all within Lake Mälaren which flows out into to the Baltic Sea. Several main districts encompass islands and are connected by Stockholm’s bridges. Norrmalm is the main business area and includes the train station, hotels, theatres and shopping. Őstermalm is more upmarket and has wide spaces that includes forest. Kungsholmen is a relaxed neighbourhood on an island on the west of the city. It has a good natural beach and is popular with bathers. In addition to the city of 14 islands, the Stockholm Archipelago is made up of 24,000 islands spread through with small towns, old forts and an occasional resort. Ekero, to the east of the city, is the only Swedish area to have two UNESCO World Heritage sites – the royal palace of Drottningholm, and the Viking village of Birka. Stockholm probably grew from origins as a place of safety – with so many islands it allowed early people to isolate themselves from invaders. The earliest fort on any of the islands stretches back to the 13th century. Today the city has architecture dating from that time. In addition, it didn’t suffer the bombing raids that beset other European cities, and much of the old architecture is untouched. Getting around the city is relatively easy by metro and bus. There are also pay‐as‐you‐go Stockholm City Bikes. The metro and buses travel out to most of the islands, but there are also hop on, hop off boat tours. It is well worth taking a trip through the broad and spacious archipelago, which stretches 80 kms out from the city. Please note that taxis are expensive and, to make matters worse, the taxi industry has been deregulated leading to visitors unwittingly paying extortionate rates. A yellow sticker on the back window of each car will tell you the maximum price that the driver will charge therefore, if you have a choice of taxis, choose

The town was relatively small. Beyond the sad side was a side maybe five years from going sad. Maybe more. Maybe ten. There was hope. There were some boarded-up enterprises, but not many. Most stores were still doing business, at a leisurely rural pace. Big pick-up trucks rolled through, slowly. There was a billiard hall. Not many street lights. It was getting dark. Something about the architecture made it clear it was dairy country. The shape of the stores looked like old-fashioned milking barns. The same DNA was in there somewhere.

It was held that the six great arts – visual art (including architecture and photography), drama, dance, music, film and literature – form a family of related, if largely autonomous, practices: they all work through the aesthetic, all address the imagination, and all are concerned with the symbolic embodiment of human meaning.

There are seemingly parallel origins of Nature’s God in America and China’s Mandate of Heaven. These twin concepts created socio-political forces for public good and orderly governance, and a unique cultural ethos (related to the Creator of the Universe in America and the Son of Heaven in China) is deeply rooted in both societies. Each concept is physically yet stealthily manifested in the architectural designs of the two capital cities, Beijing and Washington.

Modern culture has disenchanted the world by disenchanting numbers. For us, numbers are about quantity and control, not quality and contemplation. After Bacon, knowledge of numbers is a key to manipulation, not meditation. Numbers are only meaningful (like all raw materials that comprise the natural world) when we can do something with them. When we read of twelve tribes and twelve apostles and twelve gates and twelve angels, we typically perceive something spreadsheet-able. By contrast, in one of Caldecott’s most radical claims, he insists, “It is not simply that numbers can be used as symbols. Numbers have meaning—they are symbols. The symbolism is not always merely projected onto them by us; much of it is inherent in their nature” (p. 75). Numbers convey to well-ordered imaginations something of (in Joseph Cardinal Ratzinger’s metaphor) the inner design of the fabric of creation. The fact that the words “God said” appear ten times in the account of creation and that there are ten “words” in the Decalogue is not a random coincidence. The beautiful meaningfulness of a numberly world is most evident in the perception of harmony, whether in music, architecture, or physics. Called into being by a three-personed God, creation’s essential relationality is often evident in complex patterns that can be described mathematically. Sadly, as Caldecott laments, “our present education tends to eliminate the contemplative or qualitative dimension of mathematics altogether” (p. 55). The sense of transcendence that many (including mathematicians and musicians) experience when encountering beauty is often explained away by materialists as an illusion. Caldecott offers an explanation rooted in Christology. Since the Logos is love, and since all things are created through him and for him and are held together in him, we should expect the logic, the rationality, the intelligibility of the world to usher in the delight that beauty bestows. One

Separation of concerns is a fancy name for when information is organized and encapsulated into modules. The concept is closely related to the phrase “a place for everything and everything in its place.” Separation of concerns is essential when you’re managing a lot of content. For website design, the modules can be paragraphs, page sections, pages, or groups of pages: You can encapsulate benefits into clearly labeled paragraphs. Many winning websites clearly encapsulate their content into separate page sections. The navigation bars of many websites clearly encapsulate the content into groups of pages. (In one of our case studies, we describe how we used this technique to increase paid memberships for Smart Insights by 75%.) By modularizing, you allow your visitors to easily find the information that they need, and to ignore the rest. It’s hard to stress how important it is to organize information into an architecture that’s easy to navigate. Once a visitor is lost, it’s difficult to show them counterobjections. They’ll never find them.

SIRISYS is an acronym meaning Semantic Instance Relativity Interface System. His Sirisys platform was engineered to be the "Single Communication Access Port" for individuals to interact with their own "Nexus of Existence." Call her a type of Cybernetic Commutational Array. Her architecture path was to start small, then age into a personalized platform interface symbiot.

So it is surely licit to ask what Thomas Aquinas would do if he were alive today; but we have to answer that, in any case, he would not write another Summa Theologica. He would come to terms with Marxism, with the physics of relativity, with formal logic, with existentialism and phenomenology. He would comment not on Aristotle, but on Marx and Freud. Then he would change his method of argumentation, which would become a bit less harmonious and conciliatory. And finally he would realize that one cannot and must not work out a definitive, concluded system, like a piece of architecture, but a sort of mobile system, a loose-leaf Summa, because in his encyclopedia of the sciences the notion of historical temporariness would have entered. I can’t say whether he would still be a Christian. But let’s say he would be. I know for sure that he would take part in the celebrations of his anniversary only to remind us that it is not a question of deciding how still to use what he thought, but to think new things. Or at least to learn from him how you can think cleanly, like a man of your own time. After which I wouldn’t want to be in his shoes. 

It was an architecture of relation- ships, 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.

There is one mind common to all individual men.” This is Platonism; Emerson means we all have reason in common. Communication is possible because all human minds are, in important respects, similarly constituted. The second of Emerson’s Goose Pond principles is the Stoic ground law: “There is a relation between man and nature so that whatever is in matter is in mind.” This is the basis for language and for what the writer does. The third point is that expression is as basic a human drive as sex: “It is a necessity of the human nature that it should express itself outwardly and embody its thought.” “As all creatures are allured to reproduce themselves, so must the thought be imparted in speech.” He adds, as a corollary, “Action is as great a pleasure and cannot be foreborne.” Point four says, “It is the constant endeavor of the mind to idealize the actual, to accommodate the shows of things to the desires of the mind.” He gives architecture and art as examples.6 Point five is the theory of classification: “It is the constant tendency of the mind to unify all it beholds, or to reduce the remotest facts to a single law.” Point six extends point five and is a specific application of point two: “There is a parallel tendency/corresponding unity in nature which makes this [unification] just, as in the composition of a compound shell or leaf or animal from few elements.” Point seven describes, in Baconian fashion, an idol of the mind, the tendency to “separate particulars” and magnify them, from which come “all false views and particular sects.” Emerson’s last point is the intellectual parallax or corrective postulate for the previous point: “The remedy for all abuses, all error in thought or practice, is the conviction that underneath all appearances and causing all appearances are certain eternal laws which we call the Nature of Things.

an architecture professor had offered that one of the ways he tries to help his students overcome blind spots, whether related to subtraction or not, is by requiring them to come up with five, ten, or even fifty conceptual changes to the problem at hand. Only then are students allowed to choose their preferred change to develop more fully.

It is also apparent, especially to those familiar with the old order, that all these improvements have evolved from a foundation of social relations and class power built around the architecture of white supremacy. Vestiges of that foundation remain visible within current arrangements, and it can seem commonsensical, therefore, to suspect that it continues to shape the limits of the new structures of routine life. That is one reason, for example, that discussions of the relation between race and life chances in the contemporary United States gravitate so easily toward allusion to the explicit racial hierarchies that defined the Jim Crow era as an alternative to deep examination of the discrete processes that ground and reproduce inequality in the present. But commonsense rests on projection of the familiar and thereby stresses continuity over change. Unquestioned power and deference persist in the region, but their connection to race is no longer straightforward or easily predictable. The tendency to mistake superficially familiar imagery for actual continuity threatens to obscure how the present differs most meaningfully from the past.

Going to Moscow was a dream for us,' Ilich said years later. He and his younger brother started the course within weeks of Soviet tanks rolling into Czechoslovakia to crush the heady 'Prague Spring'. But they soon found that discipline at the cosmopolitan university, whose 6000 students were all selected through the Communist Party of their country of origin, was as stifling as its modernist architecture. Drab grey concrete blocks squatted around a charmless artificial pond. The only dash of colour was a map of the world painted on to the façade of one block in a valiant attempt to symbolise the ideals of the university: from an open book, symbol of learning, a torch emerges, issuing multicoloured flames that spread like waves across the planisphere. Perhaps Ilich drew some comfort from glancing up at the mural as, huddled against the rigours of the Russian winter and wearing a black beret in tribute to Che Guevara who had died riddled by bullets in October of the previous year, he trudged across the bleak square on his way to lectures. Coincidentally, the base of the flame is very close to Venezuela. Rules and regulations governed virtually every aspect of Ilich's life from the moment he started the first year's induction course, which was designed to flesh out his knowledge of the Russian language and introduce him to the delights of Marxist society before he launched into his chosen subjects, languages and chemistry. Like father, like son. Ilich rebelled against the rules, preferring to spend his time chasing girls. He would often crawl back to his room drunk. His professors at the university, some of them children of Spanish Civil War veterans who had sought refuge in Moscow, were unimpressed by his academic performance. 'His name alone, Ilich Ramírez Sánchez, was so strange that people were curious about him,' relates Kirill Privalov, a journalist on the newspaper Druzhba (Friendship) which was printed at the small university press, and an acquaintance of Ilich. The Venezuelan's escapades, wildly excessive by the standards of the university, only fanned people's interest. 'llich was not at all the typical student sent by his country's Communist Party, nothing to do with the good little soldier of Mao who laboured in the fields every summer. He was a handsome young man although his cheeks looked swollen, and he was a great bon viveur. Flush with cash sent by his parents, Ilich could afford to spend lavishly on whisky and champagne in the special stores that only accepted payment in hard currencies and which were off-limits to most people. More Russian than the Russians, the privileged student and his friends would throw over their shoulders not only empty glasses but bottles as well. The university authorities, frustrated in their attempts to impose discipline on Ilich, reasoned that his freedom of action would be drastically limited if the allowance that his father sent him were reduced. But when they asked Ramírez Navas to be less generous, the father, piqued, retorted that his son had never wanted for anything. 'The university had a sort of vice squad, and at night students were supposed either to study or sleep,' recounts Privalov. "One night the patrol entered Ilich's room and saw empty bottles of alcohol and glasses on the table, but he was apparently alone. The squad opened the cupboard door and a girl who was completely drunk fell out. She was naked and was clutching her clothes in her hands. They asked her what she was doing there and she answered: 'I feel pity for the oppressed.' She was obviously a prostitute. Another time, and with another girl, Ilich didn't bother to hide her in the cupboard. He threw her out of the window. This one was fully dressed and landed in two metres of snow a foor or two below. She got up unhurt and shouted abuse at him.

You have to go to a museum to look at paintings, attend a concert to hear live music, pick up a novel if you intend to read it. These art forms are, in that respect, relatively passive. Architecture, on the other hand, is aggressive: it surrounds us all the time, not just in our homes and offices but in public places. It is ever-present and often forgettable, but even when we aren’t particularly focused on it, it can make us feel better or worse, depending on its quality.

The approach has a metamodel based on UML. Thus, a major advantage of the UWE metamodel is related to the fact that it remains compatible to the MOF (Meta-Object Facility) meta-metamodel, used for the definition of UML, which was defined by the OMG and therefore follows the approach of Model Driven Architecture (MDA [126].

Creative people in particular traditionally have strained relations with systems, structures, standards, and other perceived constraints on their creative freedom. Nowhere is this clearer than in big organizations where people often complain that “the systems” kill creativity, longingly thinking back to the halcyon days when the company was young and less bureaucratic. Going back to the unstructured start-up days is not an option, however. Established companies require a different kind of innovation: they need a culture in which creativity is part of the corporate ecosystem. The key to building a creative culture is not to declare war on systems, processes, and policies, but to embrace and redesign them so they support and actively enhance innovative behavior. Managers, in other words, have to fight systems with systems, creating an architecture of innovation in their teams and departments. The primary aim is to help people behave more like innovators.

Bellevue and its satellites were not suburbs so much as—in the rising term—an Edge City, with its own economy, sociology, and architecture. Things made on the Eastside were odorless, labor-intensive, and credit-card thin, like computer software and aerospace-related electronics gear. They were assembled in low, tree-shaded factories, whose large grounds were known as “campuses”—for in Bellevue all work was graduate work, and the jargon of school and university leaked naturally into the workplace. Seen from an elevated-freeway distance, Bellevue looked like one of its own products: a giant circuit board of color-coded diodes and resistors, connected by a mazy grid of filaments.

Architecture cannot, however, become an instrument of mere functionality, bodily comfort and sensory pleasure without loosing its existentially meditating task. A distinct sense of distance, resistance and tension has to be maintained in relation to programme, function and comfort.

This wonderful hill station in Karnataka, often called the Scotland of India is one of the most alluring places to begin your love. Walk over the rolling hills or just sit and relax at the Alps of nature at Coorg. What should you do at Coorg? • Walk over the bamboo bridge to the island of Cauvery Nisargadhama, located at the heart of the river or enjoy an elephant safari through the 64 acres’ bamboo groves of Cauvery Nisargadhama. • Wash away all stress and be joyful at the Abbey Waterfalls; inhaling the aroma of spice plantations and pepper vines. • Play with baby elephants at the Dubare Elephant Camp, trek through the jungles, boost your adrenaline with river rafting or enjoy fishing. • Witness the beauty of Islamic architecture at the Omkareshwara Temple; the temple is dedicated to Lord Shiva.

Consider fast food, for instance. It makes sense—when the kids are starving and you’re driving home after a long day—to stop, just this once, at McDonald’s or Burger King. The meals are inexpensive. It tastes so good. After all, one dose of processed meat, salty fries, and sugary soda poses a relatively small health risk, right? It’s not like you do it all the time. But habits emerge without our permission. Studies indicate that families usually don’t intend to eat fast food on a regular basis. What happens is that a once a month pattern slowly becomes once a week, and then twice a week—as the cues and rewards create a habit—until the kids are consuming an unhealthy amount of hamburgers and fries. When researchers at the University of North Texas and Yale tried to understand why families gradually increased their fast food consumption, they found a series of cues and rewards that most customers never knew were influencing their behaviors.1.24 They discovered the habit loop. Every McDonald’s, for instance, looks the same—the company deliberately tries to standardize stores’ architecture and what employees say to customers, so everything is a consistent cue to trigger eating routines. The foods at some chains are specifically engineered to deliver immediate rewards—the fries, for instance, are designed to begin disintegrating the moment they hit your tongue, in order to deliver a hit of salt and grease as fast as possible, causing your pleasure centers to light up and your brain to lock in the pattern. All the better for tightening the habit loop.1.25 However, even these habits are delicate. When a fast food restaurant closes down, the families that previously ate there will often start having dinner at home, rather than seek out an alternative location. Even small shifts can end the pattern. But since we often don’t recognize these habit loops as they grow, we are blind to our ability to control them. By learning to observe the cues and rewards, though, we can change the routines.

. . . the authors had developed indices that could be employed to measure the state of a civilization, to determine if society was healthy, in decline, or perhaps even dead. The indicators keyed in on everything from the accumulation of refuse to declines in everyday civility. They looked at how a society treated its most vulnerable citizens; examined a culture's architecture, gauging its scale in relation to humans and the surrounding natural world. One of the primary indicators, however, was a measure of the ability of a society's citizens to listen to each other and truly hear what was being said. It evaluated by gradations the ability of individuals to stand motionless for prolonged periods, receptive to their surroundings.

Need to shoot some pictures is not only found in the special family occasions, but also necessary for architecture, landscape and even industries. These are pictures which are kept by business related people, so that these can be used in some way or the other in their business ventures. To shoot such pictures of landscape or industries, the industrial photographer is important. Such a professional will be able to know the right places to place the camera, proper areas to be shot and the type of video or photographs to be captured. The same goes true for the architectural photographer, who can shoot pictures from the proper angles and keep the images required during the editing process. Such features can be understood by photographers after lots of experience and suitable cameras. • To become architectural photographer, skills need to be rightly developed Holding a camera and shooting with the right ingredients is a part of the professional work of a photographer. It is possible to get the right images by the industrial photographer, if the camera angle and distance is adjusted. Also, the exposure is of good quality, with camera being found in the proper regions. In their efforts to come up with proper photographs, these professionals get high end cameras, with plenty of different variations possible. In the event of getting the best deals, people should also depend on these professionals. By the virtue of being an architectural photographer, the experience is of much importance. These people will know the right camera angle and the best possible designs that can be shot. Many precautions are also to be taken, because the concept of photography is good technique, which can be developed by proper observation of the scenario. Visit us:- raygun.com.au

If I am right, then enjoying music involves a kind of outward-going sympathetic movement. In music, as in sex and architecture, the relation between subjects can be uprooted and replaced by an arrangement of objects. And in a hundred ways the result of this is a culture of idolatry, in which freedom and personality are obliterated by intrusive images, clamoring for an addictive response. As I argued in the previous chapter, there is every reason to see this result as a “fall,” and the great story told in Genesis reaches forward to incorporate these new and troubling facts. The Fall did not occur at a particular moment in time; it is a permanent feature of the human condition. We stand poised between freedom and mechanism, subject and object, end and means, beauty and ugliness, sanctity and desecration. And all those distinctions derive from the same ultimate fact, which is that we can live in openness to others, accounting for our actions and demanding an account from them, or alternatively close ourselves off from others, learn to look on them as objects, so as to retreat from the order of the covenant to the order of nature.

Martin explains that working with architects in the Arup SoundLab has led to improved collaborations: 'We can relate to architects much better. If we are brought on board at the ideal time, which is if we are brought on board at concept, we can sit with the architect and say...this is what you have to work with. They can hear and they can understand it. Then from their first ideas and concepts they are much more willing to work with us when we talk to them about shape and form.

The software architecture of a computing system is the set of structures needed to reason about the system, which comprise software elements, relations among them, and properties of both.

What is software architecture? The answer is multitiered. At the highest level, there are the architecture patterns that define the overall shape and structure of software applications 1 . Down a level is the architecture that is specifically related to the purpose of the software application. Yet another level down resides the architecture of the modules and their interconnections. This is the domain of design patterns 2 , packakges, components, and classes

In one set of experiments, for example, researchers affiliated with the National Institute on Alcohol Abuse and Alcoholism trained mice to press levers in response to certain cues until the behavior became a habit. The mice were always rewarded with food. Then, the scientists poisoned the food so that it made the animals violently ill, or electrified the floor, so that when the mice walked toward their reward they received a shock. The mice knew the food and cage were dangerous—when they were offered the poisoned pellets in a bowl or saw the electrified floor panels, they stayed away. When they saw their old cues, however, they unthinkingly pressed the lever and ate the food, or they walked across the floor, even as they vomited or jumped from the electricity. The habit was so ingrained the mice couldn’t stop themselves.1.23 It’s not hard to find an analog in the human world. Consider fast food, for instance. It makes sense—when the kids are starving and you’re driving home after a long day—to stop, just this once, at McDonald’s or Burger King. The meals are inexpensive. It tastes so good. After all, one dose of processed meat, salty fries, and sugary soda poses a relatively small health risk, right? It’s not like you do it all the time. But habits emerge without our permission. Studies indicate that families usually don’t intend to eat fast food on a regular basis. What happens is that a once a month pattern slowly becomes once a week, and then twice a week—as the cues and rewards create a habit—until the kids are consuming an unhealthy amount of hamburgers and fries. When researchers at the University of North Texas and Yale tried to understand why families gradually increased their fast food consumption, they found a series of cues and rewards that most customers never knew were influencing their behaviors.1.24 They discovered the habit loop. Every McDonald’s, for instance, looks the same—the company deliberately tries to standardize stores’ architecture and what employees say to customers, so everything is a consistent cue to trigger eating routines. The foods at some chains are specifically engineered to deliver immediate rewards—the fries, for instance, are designed to begin disintegrating the moment they hit your tongue, in order to deliver a hit of salt and grease as fast as possible, causing your pleasure centers to light up and your brain to lock in the pattern. All the better for tightening the habit loop.1.25 However, even these habits are delicate. When a fast food restaurant closes down, the families that previously ate there will often start having dinner at home, rather than seek out an alternative location. Even small shifts can end the pattern. But since we often don’t recognize these habit loops as they grow, we are blind to our ability to control them. By learning to observe the cues and rewards, though, we can change the routines.

In other words, I mean the formal aspect of a work that has made it possible for critics of all affiliations (Marxist, feminist, postcolonial, historicist) to describe a work or class of works as “paranoid” (Mary Ann Doane on the Hollywood “woman’s film” of the 1940s), “euphoric” (Fredric Jameson on postmodern art and architecture), or “melancholic” (Anne Cheng on Asian-American literature); and, much more importantly, the formal aspect that enables these affective values to become significant with regard to how each critic understands the work as a totality within an equally holistic matrix of social relations.

We will figure something out that seems relatively interesting and … spend some time in Northern Japan, talking to the master about how you can form metal in a certain way. As you truly understand that, that obviously informs your design, rather than it just being an arbitrary shape, that you annotate. The product architecture starts to become informed by your really understanding that material. That’s an example of one of the reasons we don’t do lots and lots of stuff, because that’s time consuming and demanding.

When we talk about validating feasibility, the engineers are really trying to answer several related questions: Do we know how to build this? Do we have the skills on the team to build this? Do we have enough time to build this? Do we need any architectural changes to build this? Do we have on hand all the components we need to build this? Do we understand the dependencies involved in building this? Will the performance be acceptable? Will it scale to the levels we need? Do we have the infrastructure necessary to test and run this? Can we afford the cost to provision this?

Leading in ecosystems is different than leading in industries. In industries, leadership is measured as your own competitive outcome—relative market share, profits, brand strength, etc. In ecosystems, leadership is not an outcome but a role. It is measured in terms of your ability to align others around a value architecture that delivers the value proposition. This means that we must distinguish between leading an ecosystem (role) and participating in a leading ecosystem (outcome).

In relations of mutual exploitation, outcomes are rarely guaranteed.

create their own OKRs for their own organization. For example, the design department might have objectives related to moving to a responsive design; the engineering department might have objectives related to improving the scalability and performance of the architecture; and the quality department might have objectives relating to the test and release automation. The problem is that the individual members of each of these functional departments are the actual members of a cross‐functional product team. The product team has business‐related objectives (for example, to reduce the customer acquisition cost, to increase the number of daily active users, or to reduce the time to onboard a new customer), but each person on the team may have their own set of objectives that cascade down through their functional manager. Imagine if the engineers were told to spend their time on re‐platforming, the designers on moving to a responsive design, and QA on retooling. While each of these may be worthy activities, the chances of solving the business problems that the cross‐functional teams were created to solve are not high.

people are not trustworthy, that when stressed he cannot really emotionally stay connected to them, and that he is unworthy of being loved. This way of seeing the world is typical of insecure attachments and these unconscious emotional biases will guide overt behavior, especially under relational stress. What is more, the infant of a misattuned mother will frequently be presented with an aggressive expression on his mother’s face, implying he is a threat, or with an expression of fear-terror, implying that he is the source of alarm. Images of his mother’s aggressive and/or fearful face, and the resultant chaotic alterations in her bodily state, are internalized, meaning they are imprinted in his developing right brain limbic circuits as an implicit memory, below levels of consciousness. Although out of awareness, they can plague him and his relationships for his entire life unless he finds a way to bring them into conscious awareness and work with them. Furthermore, when the caregiver is attuned in her early interactions, her more mature nervous system is regulating the infant’s neurochemistry and homeostasis. This, in turn, has a profound influence on the structural organization of the developing brain. Conversely emotional trauma will negatively impact the parts of the brain which are developing at the time of trauma. For example, if high levels of stress hormones are circulating in a pregnant mother, it up-regulates the fetus’ developing stress response – making the child, and future adult hypersensitive to stress. Relational trauma that occurs around the time of birth has a negative impact on both the developing micro-architecture of the amygdala itself, and the amygdala’s connection to the HPA axis, as well as to other parts of the limbic system. Thus high levels of early unrepaired interpersonal stress have a profoundly harmful effect on the ability to form social bonds, and on temperament. Suffering unrepaired and frequent emotional stress after about ten months interferes with the experience-dependent maturation of the highest level regulatory systems in the right orbifrontal cortex. This opens the door

Paradigms are ways of programming, relatively unrelated to languages. A paradigm tells you which programming structures to use, and when to use them. To date, there have been three such paradigms. For reasons we shall discuss later, there are unlikely to be any others.

In other words, the blueprint view has many functions, but they all relate to abstract and technological purposes (in this case, architectural purposes.) You in your daily life remain in the “perspectivist” position, and if you want to shift to the absolutist or blueprint position you must remember the purpose of doing this — e.g., solving a real problem in architecture, or just getting the thrill of a novel view of the room. If you forget the purpose, and think the absolutist view has all the truth and the only truth, you have mistaken the map for the territory. When I call this “crazy,” I do not think I exaggerate. The only form of Idolatry (symbol-worship) loonier than this which I can imagine would occur if you ate the menu instead of eating the meal.

You run the engineering analysis department at an architectural firm, and in the past your staff’s salaries have been included in COS. Now the finance folks are moving all those costs out of COS. It’s perfectly reasonable—even though your department has a lot to do with completing an architectural design, a case can be made that it isn’t directly related to any particular job. So does the change matter? You bet. You and your staff are no longer part of what’s often called “above the line.” That means you’re going to show up differently on the corporate radar screen. If your company focuses on gross profit, for instance, management will be monitoring COS carefully. It will try to ensure that departments affecting COS have everything they need to hit their targets. Once you’re outside of COS—“below the line”—the level of attention may be significantly lower.

The Destrehan plantation is open now for tours—and weddings or parties, if you’re interested. A group of prominent white families converted the Destrehan plantation into a museum, seeking to preserve their heritage and remember their own past. The tour focuses on the lifestyles, family histories, and architectural accomplishments of the planter class. The tour is rich with descriptions of the planters’ meals, their parties, and their elaborate family dramas. The architecture is a special emphasis of the tour. When it comes to slavery, the tour guides describe a system of “Creole slavery” that was generous and fair to the slaves. Slavery was not as bad under the French as it became under the Americans, the tour guides suggest. “Everyone worked, from family members to slaves, because life on a plantation was not easy,” reads the plantation brochure. “It has been documented that slaves at Destrehan Plantation were treated with fairness and their health needs provided for.” But even the relatives of Jean Noël Destrehan cannot deny the events of January 1811. In a converted slave cabin not featured on the standard tour, the tour guides have constructed a museum to the 1811 uprising. With brief descriptions of the major events, the cabin features folk paintings that imagine what the event would have looked like. Just as in the history books, the story of slave politics is compartmentalized away from the central narrative of American history.

One of the problems with Domain Model is the interface with relational databases. In many ways this approach treats the relational database like a crazy aunt who’s shut up in an attic and whom nobody wants to talk about.

One of the many foolish things about the fools who compare writing about music to dancing about architecture is that dancing usually is about architecture. When bodies move in relation to a designed space, be it stage or ballroom or living room or gymnasium or agora or Congo Square, they comment on that space

…we use metaphor to help portray an integrated sense of the world to ourselves and to each other. Sense is different from truth, even though we might sometimes think of them as being the same. Where ‘truth’ claims to be absolute, ‘sense’ recognises relativity…

Wagner looked back to what in a primordial past had held people together in communities, a selflessness that had to be left behind so that human beings could become more and more conscious. He had an intuitive presentiment about the future; he felt that once individual freedom and independence had been attained, humans would have to find the way back to fellowship and caring relationships. Selflessness would have to be consciously regained, and loving kindness once more would have to become a prominent factor of life. For Wagner the present linked itself with the future, for he visualized as a distant ideal the existence of selflessness within the arts. Furthermore, he saw art as playing a significant role in evolution. Human development and that of art appeared to him to go hand in hand; both became egoistical when they ceased to function as a totality. As we see them today, drama, architecture and dance have gone their independent ways. As humanity grew more and more selfish, so did art. Wagner visualized a future when the arts would once more function in united partnership. Because he saw a commune of artists as a future ideal, he was referred to as 'the communist.' . . . In older works of art, where dance, rhythm and harmony still collaborated, he recognized something of the musical-dramatic element of the artistic works of antiquity. He acquired a unique sense for harmony, for tonality in music, but insisted that contributions from related arts were essential. Something from them must flow into the music. One such related art was dance, not as it has become, but the dance that once expressed movements in nature and movements of the stars. In ancient times, dance originated from a feeling for laws in nature. Man in his own movements copied those in nature. Rhythm of dance was reflected in the harmony of the music. Other arts, such as poetry, whose vehicle is words, also contributed, and what could not be expressed through words was contributed by related arts. Harmonious collaboration existed among dance, music and poetry. The musical element arose from the cooperation of harmony, rhythm and melody. This was what mystics and also Richard Wagner felt as the spirit of art in ancient times, when the various arts worked together in brotherly fashion, when melody, rhythm and harmony had not yet attained their later perfection. When they separated, dance became an art form in its own right, and poetry likewise. Consequently, rhythm became a separate experience, and poetry no longer added its contribution to the musical element. No longer was there collaboration between the arts. In tracing the arts up to modern times, Wagner noticed that the egoism in art increased as human beings egoism increased.

To speak of home in relation to a building is simply to recognize its harmony with our own prized internal song

The architectural competition illustrates processes of change in society that are technical and organizational as well as social; it shows up constructive dilemmas, the borderline of rationality and the relative, creative insecurity of knowledge production in architectural projects.

The software architecture of a system is the set of structures needed to reason about the system, which comprise software elements, relations among them, and properties of both.

Once the relation of science and metaphysics with “intellectual intuition” is misunderstood, Kant has no difficulty in showing that our science is entirely relative and our metaphysics wholly artificial. Because he strained the independence of the understanding in both cases, because he relieved metaphysics and science of the “intellectual intuition” which gave them their inner weight, science with its relations presents to him only an outer wrapping of form, and metaphysics with its things, an outer wrapping of matter. Is it surprising, then, that the first shows him only frameworks within frameworks, and the second phantoms pursuing phantoms? He struck our science and metaphysics such rude blows that they have not yet entirely recovered from their shock. Our mind would willingly resign itself to see in science a wholly relative knowledge and in metaphysics an empty speculation. It seems to us even today that Kantian criticism applies to all metaphysics and to all science. In reality it applies especially to the philosophy of the ancients, as well as to the form—still ancient—that the moderns have given most often to their thought. It is valid against a metaphysics which claims to give us a unique and ready-made system of things, against a science which would be a unique system of relations, finally against a science and a metaphysics which present themselves with the architectural simplicity of the Platonic theory of Ideas, or of a Greek temple. If metaphysics claims to be made up of concepts we possessed prior to it, if it consists in an ingenious arrangement of pre-existing ideas which we utilize like the materials of construction for a building, in short, if it is something other than the constant dilation of our mind, the constantly renewed effort to go beyond our actual ideas and perhaps our simple logic as well, it is too evident that it becomes artificial like all works of pure understanding. And if science is wholly the work of analysis or of conceptual representation, if experience is only to serve as the verification of “clear ideas,” if instead of starting from multiple and varied intuitions inserted into the movement proper to each reality but not always fitting into one another, it claims to be an immense mathematics, a single system of relations which imprisons the totality of the real in a mesh prepared for it, it becomes a knowledge purely relative to the human understanding. A close reading of the Critique of Pure Reason will show that for Kant this kind of universal mathematics is science, and this barely modified Platonism, metaphysics. To tell the truth, the dream of a universal mathematics is itself only a survival of Platonism. Universal mathematics is what the world of Ideas becomes when one assumes that the Idea consists in a relation or a law, and no longer in a thing.

Every decision we make for our projects, be it technology, process or people related, can be a viewed as a form of investment. Investments come associated with a cost, which may or may not be monetary, and carry trust that they will eventually pay off. Our employers choose to offer us salaries in the hope that this investment will positively affect the outcome of their venture. We decide to follow a specific development methodology in the hope that it will make the team more productive. We choose to spend a month redesigning the physical architecture of an application in the belief that it will be beneficial in the long run.

colour coding to decipher. Can you work out what the colour coding means? Is it related to input vs output functions? Or perhaps it’s business vs infrastructure? Existing vs new? Buy vs build? Or maybe different people simply had different colour pens! Who knows.

Natural materials express their age, as well as the story of their origins and their history of human use. All matter exists in the continuum of time; the patina of wear adds the enriching experience of time to the materials of construction […] Buildings of this technological era usually deliberately aim at ageless perfection, and they do not incorporate the dimension of time, or the unavoidable and mentally significant processes of aging. This fear of the traces of wear and age is related to our fear of death.

5 Thumb Rules to Follow for Outsourcing 3D Character. Outsourcing has become one of the basic requirements of the digital industry. Be it software, websites, architecture rendering or 3D character modelling, companies look forward to outsource these tasks to reliable names. Reason is simple. When it comes to value for money, 3D Art Outsourcing Service stands to be the most viable option as setting up in-house production often isn’t considered a wise ROI choice. But, this necessity has also given rise to possible frauds. There are countless companies waiting to gulp your money in the blink of an eye. There are many more who are ready to lure you with lucrative offers when it comes to 3D character modelling concept. Since not everyone is familiar with the technicalities of this field, companies can easily get trapped with fake promises of giving top notch services well within their reach, only to find out that the whole thing was neither worth their time nor money. However, all the sham can be avoided if companies follow the six thumb rules while Game outsourcing character modelling tasks to animation studios as these will lead them to the right names. 1) Take a Tour of the Website Although you will find expert comments on not to judge a company by its cover, there is no denying the fact that website plays a decisive role in company’s credibility, especially when it comes to art and animation studios. A studio that claims to offer you state-of-art results must first focus on its own. A clean, crisp website with appropriate content can actually say a lot about the studio’s work. A poor design and inappropriate content often indicate the following things: - Outdated and poorly maintained - Negligence towards its virtual presentation - Unprofessionalism - Poor marketing A sincere design and animation studio will indeed feature a vibrant website with all its details properly included. 2) Location Matters Location has a huge impact on hiring charges as it largely decides the price range one can expect. If you are looking forward to countries like India, you expect the range to be well within your budget chiefly because such countries have immense talent, but because of the increasing demand and competition in the field of outsourcing, hiring charges are relatively cheaper than countries like UK or USA. This means that once can get desired expertise without spending a fortune. 3) Know Your Team Inside Out Since you will be spending your hard earned money, you have every right to know the ins and outs of your team. Getting to know the team can assist you in your decision. Do your part of homework and be ready with your queries. Starting from their names to their works, check everything you can, and if need be, go for one-to-one conversation. This will not only help you to know them better, but will also give you an idea of their communication, their knowledge about their work and their sincerity. A dedicated one will always answer you up to the point while a confused one with fidget with words or beat around the bush. 4) Don’t Miss Out on the Portfolio While the website of a studio is its virtual representative, it’s the portfolio which speaks about its execution. Reputed names of 3D modelling and design companies house excellent projects ranging from simple to complex ones. A solid portfolio indicates: - commitment of the studio towards its projects - competency of its team - execution and precision - status of its expertise Apart from the portfolio, some animation studios even feature case studies and white papers in their websites which indicate their level of transparency. Make sure to go through all of them.

Authenticity and respect go to those who stick to their own specific field of work. For example, I am a Biologist and my work is the understanding of human nature - that's where I place all my attention. I know nothing revelatory about modern physics - I know nothing revelatory about mathematics - I know nothing revelatory about architecture - I know nothing revelatory about any field of understanding except for the ones directly related to biology. It doesn't mean that I cannot learn about other fields - I can, but every human has his or her own distinct knack, and mine is understanding humans - understanding how and why they think, what they think - how and why they feel, what they feel - how and why they behave, the way they behave - how and why they perceive, what they perceive.

Over the past decade, its Dialogues Between Neuroscience and Society series has featured such luminaries as the Dalai Lama, actress Glenn Close, dancer Mark Morris, and economist Robert Shiller. At the 2006 meeting in Atlanta, Frank Gehry was invited to discuss the relationship between architecture and neuroscience. After the talk, an audience member (actually it was me) asked him, “Mr. Gehry, how do you create?” His answer was both intuitive and funny: “There is a gear [in my brain] that turns and lights a light bulb and turns a something and energizes this hand, and it picks up a pen and intuitively gets a piece of white paper and starts jiggling and wriggling and makes a sketch. And the sketch somehow relates to all the stuff I took in.”4 Gehry’s answer is a perfect metaphoric formulation of the evolving neuronal assembly trajectory concept, the idea that the activity of a group of neurons is somehow ignited in the brain, which passes its content to another ensemble (from “gear to light bulb”), and the second ensemble to a third, and so forth until a muscular action or thought is produced. Creating ideas is that simple. To support cognitive operations effectively, the brain should self-generate large quantities of cell assembly sequences.

And we watch as these “extras” navigate their life of tools and utensils, food and wine, architecture and rituals, committing shameful acts of every shape and size: they get hammered, piss themselves, vomit, screw until they pass out (even with close relatives and parents), strut, flail, talk trash, consume and conspire, slather on makeup, exercise in the gym—meanwhile, to their own detriment and the detriment of others, committing perjury and falsifying public documents, even practicing cannibalism.

In fact, other than certain aspects of low-level vision, I know of no success at relating systematicities of mental representations to the details of neural architecture.14

At sunset above the plains of Kwaalon, on a dark, high terrace balanced on a glittering black swirl of architecture forming a relatively microscopic part of the equatorial Girdlecity of Xown, Vyr Cossont – Lieutenant Commander (reserve) Vyr Cossont, to give her her full title – sat, performing part of T. C. Vilabier’s 26th String-Specific Sonata For An Instrument Yet To Be Invented, catalogue number MW 1211, on one of the few surviving examples of the instrument developed specifically to play the piece, the notoriously difficult, temperamental and tonally challenged Antagonistic Undecagonstring – or elevenstring, as it was commonly known.

Art and architecture were a single unit; only later did they take separate courses. (It is curious that today, with all our wealth, our builders cannot afford the decorative beauty customary in the relatively poor Middle Ages.)

DARPA has funded a variety of projects related to developing RISC-V. Chinese firms have also embraced RISC-V, because they see it as geopolitically neutral. In 2019, the RISC-V Foundation, which manages the architecture, moved from the U.S. to Switzerland for this reason.

Top Skills Australia Wants for the Global Talent Visa The Global Talent Visa (subclass 858) is one of Australia’s most prestigious visa programs, designed to attract highly skilled professionals who can contribute to the country’s economy and innovation landscape. Australia is looking for exceptional talent across various sectors to support its economic growth, technological advancements, and cultural development. If you’re considering applying for the Global Talent Visa, understanding the skills in demand will help you position yourself as a strong candidate. In this blog, we’ll outline the top skills and sectors Australia prioritizes for the Global Talent Visa, and why these skills are so valuable to the country’s future development. 1. Technology and Digital Innovation Australia is rapidly embracing digital transformation across industries, and the technology sector is one of the highest priority areas for the Global Talent Visa. Skilled professionals in cutting-edge technologies are highly sought after to fuel innovation and help Australia stay competitive in the global economy. Key Tech Skills in Demand: Cybersecurity: With increasing cyber threats globally, Australia needs experts who can safeguard its digital infrastructure. Cybersecurity professionals with expertise in network security, data protection, and ethical hacking are in high demand. Software Development & Engineering: Australia’s digital economy thrives on skilled software engineers and developers. Professionals who are proficient in programming languages like Python, Java, and C++, or who specialize in areas such as cloud computing, DevOps, and systems architecture, are highly valued. Artificial Intelligence (AI) & Machine Learning (ML): AI and ML are transforming industries ranging from healthcare to finance. Experts in AI algorithms, natural language processing, deep learning, and neural networks are in demand to help drive this technology forward. Blockchain & Cryptocurrency: Blockchain technology is revolutionizing sectors like finance, supply chains, and data security. Professionals with expertise in blockchain development, smart contracts, and cryptocurrency applications can play a key role in advancing Australia's digital economy. 2. Healthcare and Biotechnology Australia has a robust and expanding healthcare system, and the country is heavily investing in medical research and biotechnology to meet the needs of its aging population and to drive innovation in health outcomes. Professionals with advanced skills in biotechnology, medtech, and pharmaceuticals are crucial to this push. Key Healthcare & Bio Skills in Demand: Medical Research & Clinical Trials: Australia is home to a growing number of research institutions that focus on new treatments, vaccines, and therapies. Researchers and professionals with experience in clinical trials, molecular biology, and drug development can contribute to the ongoing advancement of Australia’s healthcare system. Biotechnology & Genomics: Experts in biotechnology, particularly those working in genomics, gene editing (e.g., CRISPR), and personalized medicine, are highly sought after. Australia is investing heavily in biotech innovation, especially for treatments related to cancer, cardiovascular diseases, and genetic disorders. MedTech Innovation: Professionals developing the next generation of medical technologies—ranging from diagnostic tools and medical imaging to wearable health devices and robotic surgery systems—are in high demand. If you have experience in health tech commercialization, you could find significant opportunities in Australia.

Angela Liberatore said, Web development is a career path that can speak to experts inspired by innovation and the web. Assuming you appreciate utilizing PCs and computerized apparatuses to assemble and keep up with sites, think about seeking after this vocation way. Finding out about the likely advantages of turning into a web engineer and how to become one can set you up for a compensating vocation experience. There is a tremendous interest for web developers in the present market. Web developers have the adaptability to work from anyplace they need. While there are positively various specialized topics in website architecture, the central matter is that most web-related positions are viewed as great vocations with added advantages and advantages and the chance of development. Functioning as a web developer includes a few obligations, including ceaseless learning, critical thinking, and decisive idea. This field is continually advancing because of headways in web development. This implies web and programming developers need to work resolutely to keep awake to-date with the latest coding dialects and market patterns to guarantee they are applicable over the long run in their professions in web development. There is no indication of a slowdown in demand. The developing prominence of online web-based business shopping is anticipated to extend more rapidly than the retail area – and the steadily developing dependence on portable hunts will just bring about a more noteworthy interest for profoundly gifted web and programming engineers. Reasons to Begin Your Web Development Career Journey today: Web Developers Are In-Demand Today, the web-based experience is crucial for the outcome of each and every business and association. Without a web engineer, organizations are left utilizing simplified website designers like Squarespace or a WordPress layout. While these could get the job done for certain organizations, a lot more depend in a web designer or group of engineers to convey the extraordinary, drawing in, and very much planned encounters shoppers anticipate today. This is one explanation the Agency of Work Measurements (BLS) gauges that the web advancement industry is supposed to become 23% by 2031 a lot quicker than the normal. Web Developers Earn a Great Living Do web developers get compensated well? the response is yes. However remuneration depends on experience like each and every other industry, the typical web designer $79,476 per year as per Glassdoor. This is around $30 60 minutes, altogether higher than the Indiana statewide normal time-based compensation of $17.54 each hour. Getting into Web development is one way for Hoosiers to make around twofold the normal compensation without fundamentally expecting to acquire a postgraduate education. Work adaptability/flexibility Working in any web advancement job offers you significant work adaptability. Inside an association, you have the adaptability to work cooperatively with a group or freely. You can fill in as a remote web engineer, in an office, or from home. Beside work environment adaptability, you can likewise settle on the ventures you mean to zero in on as you acquire field insight. In the event that you investigate outsourcing open doors as a web designer, you can have adaptable work hours as you settle on the undertakings and clients to acknowledge. You may likewise choose to subcontract explicit errands in an undertaking if essential. Problem-solving opportunities A web developers job includes tracking down various ways to deal with circumstances and settling on the most suitable activity. Filling in as a web engineer can assist you with creating decisive reasoning skills, as you frequently resolve true difficulties with tasks and fix code messes with routinely. Beside critical thinking, the programming abilities you gain as a web engineer are likewise transferrable abilities that can help you in numerous different jobs.

We have all heard the sceptics who warn that serious action to fight climate change and energy scarcity will lead us into decades of hardship and sacrifice. When it comes to cities, they are absolutely wrong. In fact, sustainability and the good life can be by-products of the very same interventions. Alex Boston, the Golder planner who advises dozens of cities on climate and energy, doesn’t even ask civic leaders about their greenhouse gas reduction aspirations when they first start talking. ‘We ask, “What are your core community priorities?”’ says Boston. ‘People don’t talk about climate change. They say they want economic development, livability, mobility, housing affordability, taxes, all stuff that relates to happiness.’ These are just the concerns that have caused us to delay action on climate change. But Boston insists that by focusing on the relationship between energy, efficiency and the things that make life better, cities can succeed where scary data, scientists, logic and conscience have failed. The happy city plan is an energy plan. It is a climate plan. It is a belt-tightening plan for cash-strapped cities. It is also an economic plan, a jobs plan and a corrective for weak systems. It is a plan for resilience. THE GREEN SURPRISE Consider the by-product of the happy city project in Bogotá. Enrique Peñalosa told me that he did not feel the urgency of the global environmental crisis when he was elected mayor. His urban transformation was not motivated by a concern for spotted owls or melting glaciers or soon-to-be-flooded residents of villages on some distant coral atoll. Still, a funny thing happened near the end of his term. After making Bogotá easier, cleaner, more beautiful and more fair, the mayor and his city started winning accolades from environmental organizations. In 2000 Peñalosa and Eric Britton were called to Sweden to accept the Stockholm Challenge Award for the Environment, for pulling 850,000 vehicles off the street during the world’s biggest car-free day. Then the TransMilenio bus system was lauded for producing massive reductions in Bogotá’s carbon dioxide emissions.fn1, 3 It was the first transport system to be accredited under the UN’s Clean Development Mechanism – meaning that Bogotá could actually sell carbon credits to polluters in rich countries. For its public space transformations under mayors Peñalosa, Antanas Mockus and their successor, Luis Garzón, the city won the Golden Lion prize from the prestigious Venice Architecture Biennale. For its bicycle routes, its new parks, its Ciclovía, its upside-down roads and that hugely popular car-free day, Bogotá was held up as a shining example of green urbanism. Not one of its programmes was directed at the crisis of climate change, but the city offered tangible proof of the connection between urban design, experience and the carbon energy system. It suggested that the green city, the low-carbon city and the happy city might be exactly the same destination.