Author's Note
Preface: Towards a New Conception of the Nature of Matter
1. Introduction
2. Background
3. The Personal
4. That Exists In Me, and Before Me, and After Me
5. Changes in Our Idea of Matter
Part One
We stand face to face with art. Can we make the eternal, simple thing, that belongs utterly to the world, and that preserves, sustains, extends, the beauty of the world?
Is this truly possible? Can it be done, in our world of trucks, freeways, computers, and prefabricated furniture and prefabricated drinks?
Throughout Books 1, 2 and 3, I have presented a veriety of propositions about living structure. They are results of observation. Many of then rely, explicitly, on unusual methods of observation. Many are based on feeling. They are capable of teaching us a new attitude towards the art of buildings. They are capable, in principle, of transforming our physical world for the better.
But, powerful and effective as these methods are, they are likely to be ignored or rejected by the reader so long as they are understood within a mechanistic world-view. A person who adheres to classical 19th - or 20th-century beliefs about the nature of matter, will not be able, fully, to accept the revisions in building practice that I have proposed, because the revisions will remain, for that person, too disturbingly inconsistent with the picture of the world. The old world-picture will constantly graw at our attempts to find a wholesome architecture, disturb our attempts, interfere with them - to such an extent that they cannot be understood or used successfully.
Unless our world-picture itself is changed and replace by a new picture, more consistent with the felt reality of life in buildings and in our surroundings, the idea of life in buildings itself (even with all its highly practical revisions in architectural practice) will not be enough to accomplish change.
1. Our Present Picture of the Universe
1. Cosmology
2. The Strength of the Present Scientific World-Picture
3. The Weakness of the Present World-Picture
There are thus two worlds in our minds. One is the scientific world which has been pictured through a highly complex system of mechanisms. The other is the world we actually experience. These two worlds, so far, have not been connected in a meaningful fashion. Alfred North Whitehead, writing about 1920, was one of the first philosophers to draw attention to this modern problem, which he called the bifurcation of nature. Whitehead believed that we will not have a proper grasp of the universe and our place in it, until the self which we experience in ourselves, and the machinelike character of matter we see outside ourselves, can be united in a single picture. I believe this. And I believe that we shall not have a credible view that shows how human life and architecture are related until Whitehead's bifurcation is dissolved. Indeed, until it is dissolved, we cannot help -- at least partially -- thinking of ourselves as machines!
4. The Needs of Architecture
(CA가 NOO 1~3권 전체에 대해 요약하는 내용)
Throughtout =THE NATURE OF ORDER= I have presented a variety of propositions about living structure. All these propositions are, in one sense or another, results of observation. I have presented observations about the degree of life in things -- even in buildings, even in concrete and brick and wood -- and the surprising way this varies. I have presented comments about the nature of wholeness in the world, and its dependence on centers. I have presented definitions of geometric properties, correlated with degree of life -- which seem pervasive in buildings and artifacts and in many parts of nature.
I have tried to show how to make things, in our time, which are truly beautiful. I have presented conclusions about the impact of human process and procedural sequence on the evolution of coherent living structure. I have presented examples -- many detailed examples -- of harmonious process and its impact on planning of buildings, structure of buildings, on the detailed geometry of buildings and the way a building is constructed from material. I have presented rather surprising facts about the apparent correlation of the mirror of the self test with observed life in thousands of centers. I have presented observations about the way that human feeling seems to correlate with life in material systems.
The ideas I have brought forward -- some solid, some more tentative -- are in many ways unlike the ideas that as common in our daily experience of science and technology. Many of them rely, explicitly, on unusal methods of observation. Many are based on feeling. They are capable of teaching us a new attitude towards the art of building. They are capable, in principle, of transforming our physical world for the better.
질서의 본질 (the nature of order) 전반에 걸쳐 저는 살아있는 구조에 대한 다양한 제안을 제시했습니다. 이러한 제안은 어떤 의미에서든 관찰의 결과입니다. 저는 사물의 생명의 정도 (degree of life)에 대한 관찰을 제시했으며, 건물에서부터 콘크리트, 벽돌, 나무에 이르기까지 이 생명의 정도 (degree of life)가 놀라울 정도로 달라지는 방식을 다뤘습니다. 저는 세계의 전체성의 본질과 그것이 중심 (centers)에 의존하는 방식에 대해 언급했습니다. 또한, 생명의 정도 (degree of life)와 연관된 기하학적 속성의 정의를 제시했으며, 이는 건축물과 인공물 및 자연의 많은 부분에서 만연해 보입니다.
저는 우리 시대의 진정으로 아름다운 것을 만드는 방법을 보여주고자 했습니다. 인간의 과정과 절차적 순서가 일관된 살아있는 구조의 진화에 미치는 영향에 대한 결론을 제시했습니다. 저는 조화로운 과정과 그것이 건물 계획, 건물의 구조, 건물의 세부 기하학 및 자재로부터 건물이 어떻게 건축되는지에 미치는 영향에 대한 많은 구체적인 예를 제시했습니다. 저는 자아의 거울 (mirror of the self) 테스트와 수천 개의 중심 (centers)에서 관찰된 생명의 정도 (degree of life) 간의 명백한 상관관계에 대한 다소 놀라운 사실을 제시했습니다. 또한 인간의 감정 (feeling)이 물질 시스템의 생명 (life)과 어떻게 상관관계가 있는지에 대한 관찰을 제시했습니다.
제가 제시한 아이디어는 일부는 확고하고 일부는 더 가벼운 것이지만, 우리의 과학과 기술의 일상적 경험에서 일반적인 생각과는 여러 면에서 다릅니다. 많은 아이디어는 명시적으로 비유상한 관찰 방법에 의존하고 있으며, 감정 (feeling)에 기반을 두고 있습니다. 이들은 건축 예술에 대한 새로운 태도를 가르쳐줄 수 있으며, 원칙적으로 우리의 물리적 세계를 더 나은 방향으로 변화시킬 수 있는 가능성을 가지고 있습니다.
5. Scientific Efforts to Build an Improved World-Picture
The personal, the existence of felt "self" in the universe, the presence of consciousness, and the vital relation between self and matter -- none of these have entered the picture yet, in a practical or scientifically workable way. In that sense the world picture, even as modified, still deals only with the inert -- albeit as a whole. The most fundamental problem with the mechanistic world picture has still not -- yet -- been solved.
Whitehead's rift remains.
6. The Continuing Lack of a Unifying Cosmology
7. Ten Tacit Assumptions Which Underlie Our Present Picture of the Universe
8. Inspiration for a Future Physics
9. The Confrontation of Art and Science
10. A Fusion of Self and Matter
2. Clues From the History of Art
1. Introduction
2. An Observation
3. Relatedness
4. A Possible Explanation
5. A Connection to the Self
6. What of Out Modern Works?
7. More on the Problem of our Era
8. The Black Plater
9. Footnote
3. The Existence of an "I"
나는 모든 건축이 관계성에 의존한다고 믿는다. 잘 작동하는 건물은 사람과 우주 사이에 관계성을 만드는 건물이다. I Belive that all architecture depends on relatedness. Those buildings which work are the ones which create relatedness between a person and the universe.
1. A Dewdrop
나는 당신이 춥고 맑은 날씨에 이슬방울 중 하나를 바라보면서 자신과 이슬방울 사이에 어떤 관계성을 느낀다고 믿는다. 그것은 아름답다, 맞다. 하지만 당신이 느끼는 것은 그 이상이라고 생각한다. 당신은 그것과 관련되어 있다고 느낀다. I believe that you, looking at one of these dewdrops in the cold weather, feel some relatedness between yourself and the dewdrop. It is beautiful, yes. But what you feel goes beyond that, I think. You feel related to it.
하지만 나는 더 나아가야 한다고 주장하고 싶다. 당신과 이슬 방울 사이에 실제로 관계성을 경험하도록 말이다. 마치 당신의 영혼, 당신의 존재, 그리고 이슬방울이 얽혀서 서로 관련되어 있는 것처럼. But I want to insist that it goes further, that you experience an actual relatedness, between you and the dewdrops, as if your eternal soul, your existence, and the drops, are entangled, related to each other.
내가 말하고자 하는 것은 당신의 일상적인 자아가 이슬방울과 정확하게 관련되어 있다는 것이 아니다. 내가 제안하는 것은, 마치 당신의 영원한 자아, 당신 안의 영원한 부분이 이슬방울과 관련되어 있는 것과 같다. 마치 그것이 이슬방울 속에 존재하는 듯한 느낌이다. 당신은 그런 무언가를 느낀다. I do not mean to say that it is your daily self, exactly, that is related to the drops. It is more, I suggest, as if your eternal self, the eternal part of you, is related to the drops. Almost as if it exists as a presence in the drops. You feel something like that.
2. Relatedness
만약 내가 정원에 있는 전통적인 오래된 벤치를 본다면, 나는 그것과 관련되어 있다고 느낀다. 만약 내가 오래된 자연스럽게 부서진 나무 그루터기를 본다면, 나는 그것과 관련되어 있다고 느낀다. 하지만 내가 강철 창문이나 컴퓨터 케이스를 본다면, 나는 그것들과 덜 관련되어 있다고 느낀다. If I look at a traditional old bench in the garden, I feel related to it. If I look at an old naturally broken tree stump, I feel related to it. If I look at a steel window or at a computer casing I feel less related to them.
고대 세계의 건물과 물체 또한, 사람들이 그것을 바라보면 그와 관련되어 있다고 느끼도록 만들어졌다. 오늘날, 만약 내가 최근 시대의 아파트 건물이나 큰 슈퍼마켓의 주차장을 본다면, 나는 이러한 것들과 덜 관련되어 있다고 느낀다. 그것들은 비어 있는 것처럼 보인다. 현대 시대의 시작은 우리가 관련되지 않는 수많은 구성들로 가득한 세상을 만들었다. The buildings and objects of the ancient world, too, were usually made so that if people looked at them they felt related to them. Today, if I look at an apartment building of recent times, or at the parking lot of a big supermarket, I feel less related to these things. They seem vacant. The onset of the modern era has created a world full of configurations to which we do not reel related.
3. The Mirror-of-the-Self Experiments
1권에서 나는 우리가 상당히 일관된 결과를 가지고 우리 자신의 모습에 더 가까운 구성과 덜 가까운 구성을 구별할 수 있음을 보여주었다. (나의 실험은 일반적이었지만, 특히 다양한 인공물과 예술 작품에 대한 인식에 집중하였다.) 서로 다른 구성들을 비교할 때, 우리는 어떤 것이 우리 자신의 모습의 그림과 더 비슷한지, 어떤 것이 덜 비슷한지를 보고, 말하고, 결정할 수 있다. In Book 1, I have shown that we are able to distinguish, with rather consistent results, configurations that are more and less like our own selves (my experiments were general, but focused especially on the perception of various artifacts and works of art). When comparing different configurations, we can see, tell, and decide which of them is more like a picture of our own self, and which is less.
가장 중요한 점은 우리가 두 가지를 비교하고 "두 가지 중 어느 것이 내 영원한 자아에 더 가깝거나 덜 가까운가?"라는 질문에 집중할 때, 서로 다른 인간들이 상당 부분 동의한다는 사실이다. 이 결과는 실험적으로 검증할 수 있다. 실험에 대한 몇 가지 중요한 측면이 있다: Most important is the fact that when we compare two things and concentrate on the question "Which of the two is more or less like my eternal self?" we find that different human beings agree, to a significant extent. This result is experimentally verifiable. There are further aspects of the experiments which are significant:
매우 높은 정도로, 사람들은 결과에 대해 동의한다. 즉, 같은 문화에서 온 사람들은 영원한 자아를 구체화하는 것으로 같은 것들을 선택하는 경향이 있다. 더 놀랍게도, 서로 다른 문화의 사람들조차도 전반적으로 동의하며, 그들의 영원한 자아의 그림으로 같은 것들을 선택한다. To a very large degree, people agree about the results. That is, people from the same culture tend to choose the same things as embodying the eternal self. More remarkably still, even people from different cultures agree, on the whole, and choose the same things as pictures of their eternal self.
사람들은 때때로 이 실험에 참여하는 것에 대해 불안해하는데, 그들은 자신이 받고 있는 질문이 "의미가 있는지" 궁금해하기 때문이다. 최상의 결과를 얻기 위해, 나는 실험의 피험자에게 "물론, 이것은 아무 의미가 없다. 걱정하지 마라, 이것은 그냥 게임이다; 물론 의미가 없다, 그런 것들을 다 잊고 질문에 답해보도록 해라. 그냥 나를 웃겨주기 위해서 해줘, 만약 당신이 '어느 하나'를 당신의 영원한 자아의 그림으로 선택해야 한다면, 어떤 것을 선택할 것인가?"라고 말하는 것이 보통 필요하다는 것을 알게 되었다. 사람들이 실험을 그저 재미로 하게 되면, 우리는 일관된 결과를 얻는다. 그러나 나는 곧 항상 사람들이 불안해하는 이유는 현재의 우주론의 "공식 버전"이 질문이 의미가 있도록 하지 않기 때문이라고 생각해왔다. 그 결과, 사람들은 어떻게 그것을 바라보거나 생각해야 할지 모르는데, 비록 그들의 감정이 그것이 의미가 있다고 알려 준다 해도, 질문에 답하려고 하는 순간에 더욱 그렇다. People are sometimes uneasy about participating in this experiment, because they wonder if the questions they are being asked "make sense." In order to get the best results, I usually found it necessary to tell the subject of the experiment, "Of course, it does not mean anything. Don't worry, this is just a game; of course it doesn't make sense, just forget all that and try to answer the question. Please just do it to humor me, just tell me, if you had to choose one or the other as a picture of your eternal self, then which one would you choose?" Once people do the experiment, just for the hell of it, we get consistent results. But, it has always seemed to me that people are uneasy because the "official version" of current cosmology does not allow the question to make sense. As a result, people do not know how to regard it or think about it, even if their feelings tell them that it does make sense, once they try to answer it.
사람들이 이러한 기준을 사용할 때, 예술 작품에 대한 판단은 상당한 정도로 정보가 있는 판단과 일치하는 경향이 있다. 따라서 이 기준을 사용함으로써 사람들은 "아름다움은 보는 사람의 눈에 있다"는 예술에 대한 관점을 초월할 수 있는 어떤 원천이나 정보의 출처를 발견하게 되며, 대신 시각 예술의 다양한 분야에서 전문가들이 내리는 판단과 유사한 정보에 기반한 판단을 내릴 수 있게 된다. The judgments people make about works of art, when using this criterion, tend to coincide in considerable degree with informed judgements about art. Thus by using this criterion, people find in themselves some wellspring or source of information which allows them to supercede the "beauty is in the eye of the beholder" view of art, and instead allow them to make informed judgments similiar to the judgments made by experts in different fields of the visual arts.
4. The Real Relatedness Existing Underneath the Skin
5. The Ancient and Eternal Truth of the Relatedness
6. The Numinous Experience
7. True Meaning of Relatedness
8. A Jump to Speaking About the Existence of an "I"
9. An Experiment to Determine the Extension of the I
10. The I of Our Experience Originating with the I in Things
11. A Hypothesis
12. Mobilizing the Storm
4. The Ten Thousand Beings
1. Introduction
2. Consider the Possibility of Viewing All Living Centers as Being
3. The Jewel Net of Indra
4. What it Means for a Center to be Being-Like
5. A Corner of a Farmer's Field
6. A Shipyard
7. Looking at Chartres
8. Each Living Center is a Being
9. Pure Unity
10. The Fundamental Process
11. The Difficulty of the Task
12. Innocence
13. The Vision of Matisse and Bonnard
14. In Our Own Era
15. A New Vision of Building: Making Living Structure in Our Brutal World
16. The Life of the Environment
5. The Practical Matter of Forging a Living Center
1. Intensifying Shape
2. Unity Achieved in a Great Blossom
3. Emergence of a "Being" From The Field of Centers
4. Beings in Arches, Spaces, and Columns: The Example of West Dean
5. Emergence of the Arches
6. Detailed Design of the Structural Columns
7. A Wall
8. Catching a Being in Color
9. The Haunting Melody
Mid-Book Appendix: Recapitulation of the Argument
1. Introduction
2. The Possibility of a Coherent Verifiable Theory
3. The Argument from Verifiable Details
4. The Argument From Coherence
Part Two
What I have presented in these four books is intended to become a part of a new science - a first sketch of a new kind of scientific theory.
Since the creation of a work of building must always be, at root, creation of living structure, I have built to the best of my ability a picture of living structure and of the processes that can generate living structure. The picture is sifficient, I belive, for working architects to carry in our minds, a vision of our task.
But this picture necessarily touches physics. The existence of living structure, as I have defined it, requires modifications in our physical picture of the world, not only in the picture which we have of architecture. And, in the most subtle phases of this work, we are forced - I believe - by the arguments presented in Book 4, to go still further. It is not enough merely to have a picture of living structure, but necessary, also, to recognize that there is something ineffable, a mystical core in things, that is deeply related to our own individual self, and that THIS -- not something else -- is the true both of matter and of architecture. That, too, must find expression.
6. The Blazing One
The Unity that Speaks of I
1. The Faintly Glowing Quality which Can be Seen in a Thing Which has Life
2. Psychological Explanation
3. Possible Existence of a Single Underlying Substance
4. The Blazing one
5. What, Then, Is a Center?
6. Though a Strange Model, It Provides a Viable Explanation
7. Which I-Hypothesis is True?
8. A Non-Material View of Matter
7. Color and Inner Light
1. Introduction: A Direct Glimpse of the I
2. Color as an Essential Feature of Reality
3. Inner Light
4. The Unfolding Which Produces Inner Light
5. The Eleven Color Properties
6. Hierarchy of Colors (Levels of Scale)
7. Colors Create Light Together (Positive Space, Alternative Repetition)
8. Contrast of Dark and Light (Contrast)
9. Mutual Embedding (Deep Interlock and Ambiguity)
10. Sequence of Linked Color Pairs (Gradients and the Void)
11. Boundaries and Hairlines (Boundaries)
12. Families of Color (Echoes)
13. Color Variation (Roughness)
14. Intensity and Clarity of Individual Colors (Strong Centers, Good Shape)
15. Subdues Brilliance (Inner Calm and Not-Separatedness)
16. Color Depends on Geometry (Strong Centers, Local Symmetries)
17. Color and the Field of Centers
18. Inner Light as a Glimpse of the I Which Lies Behind the Field of Centers
19. The Hint of a Transcendent Unity
20. Transcendent Wholeness as a Kind of Light
21. Conclusion
8. The Goal of Tears
1. Why Unity and Sadness are Connected
2. Sadness
3. Getting Sadness in the Flesh of the Building
4. Sadness of Color and Geometry
5. Unity and Sadness in a Group of Buildings
6. Unity and Sadness of Life in a Back yard
7. The Ground
8. Concluding Section
9. Making Wholeness Heals the Maker
1. Introduction
2. The Impact of Making Beauty on the Maker's Life
3. The Healing Process
4. Making Wholeness Heals the Maker
5. Life Made Creates Life in the Maker
6. The Source of the Healing Effect
7. Human Growth: The Movement of the Self Towards its Origin
8. Towards Full Knowledge of the Self Which Can Arise in Us
9. Drawing Sadness from Your Most Vulnerable Self
10. Do Not Ask for Whom the Bell Tolls
10. Pleasing Yourself
1. Introduction
2. Recaptulation of Books 1 to 4 as "Pleasing Yourself"
3. Veronica's blue Chair
4. The Heart-Stopping Quality
5. The Thought Police
6. Not Pleasing Yourself
7. A Group of Architecture Students Who Were Not Pleasing Themselves
8. A Mexicali Story About the Thought Police
9. Pleasing Yourself
10. The Effort it Took to Get the Stark Geometry of West Dean to a State Where it Really Pleases Me
11. Emil Nolde's Sunset and Paul Gauguin's Cow
12. A Significantly Large Structure
13. Being Modern and Being True
14. The Childlike
15. There is Nothing Greater
16. Pure Innocence and Deep Order the Message of St. Francis
11. The Face of God
1. This is God
2. Spirit Made Manifest
3. The Practical Results of This Knowledge
4. A Necessary State of Mind
5. The World Beyond a Given Thing
6. Not-Separatedness
7. Making a Gift for God
8. The Face of God
Conclusion to the Four Books
A Modified Picture of the Universe
1. Introduction
2. The Nature of Space and Matter
3. Wholeness as a Physical Structure in the Universe
4. Consciousness as a Physical Feature of the Universe
5. A Modified Physics
6. Summary of the Modified Physics
7. A New Picture of the World
8. A Physical Basis for Religious Awe
9. Essential Awe
Epilogue: Empirical Certainty and Enduring Doubt
1. An Extension of the Scientific Idea of What Can be Known
2. A New Method of Observation at the Core of the World-Picture