The resistant virtues of the structure that we make depend on their form; it is through their form that they are stable and not because of an awkward accumulation of materials. There is nothing more noble and elegant from an intellectual viewpoint than this; resistance through form.
Dieste's unique and innovative method of design, a melding of architecture and engineering, elevated these often humble buildings to masterworks of art.
There are deep moral/practical reasons for our search which give form to our work: with the form we create we can adjust to the laws of matter with all reverence, forming a dialogue with reality and its mysteries in essential communion... For architecture to be truly constructed, the materials must be used with profound respect for their essence and possibilities; only thus can 'cosmic economy' be achieved... in agreement with the profound order of the world; only then can have that authority that so astounds us in the great works of the past.
It is related that the bodhisattva Manjusri was once standing at the gate, and seeing him, Shakyamuni Buddha called to him, "Manju, Manju, why don't you come inside the gate?"
Manjusri replied, "I don't see anything outside the gate."
When you once attain true self-realization, these barriers disappear in an instant as though they were nothing but mirages, and you will find that from the very beginning you have always been in a world where there is neither inside nor outside. That is what "gateless" means. Therefore, all koans are impassable barriers for those who are unenlightened, but for the enlightened there is no gate at all. They can come and go quite freely.
One day, as Kyogen was clearing the undergrowth, a pebble bounced off the tip of his broom and resounded against a bamboo tree. Hearing the sound, he suddenly experienced great enlightement. The first stanza of the poem he composed on this occasion is very famous:
One striking sound,
and I have forgotten all I knew.