Tell me, gentle flowers Tell me, gentle flowers, teardrops of the stars, standing in the garden, nodding your heads to the bees as they sing of the dews and the sunbeams, are you aware of the fearful doom that awaits vou? Dream on, sway and frolic while you may in the gentle breezes of summer. Tomorrow a ruthless hand will close around your throats. Okakura Kakuzō, The Book of Tea flowers
The man of the pot In the West the display of flowers seems to be a part of the pageantry of wealth—the fancy of a moment. Whither do they all go, these flowers, when the revelry is over? Nothing is more pitiful than to see a faded flower remorselessly flung upon a dung heap. ...Much may be said in favor of him who cultivates plants. The man of the pot is far more humane than he of the scissors. ...Anyone acquainted with the ways of our tea and Flower Masters must have noticed the religious veneration with which they regard flowers. They do not cull at random, but carefully select each branch or spray with an eye to the artistic composition they have in mind. They would be ashamed should they chance to cut more than were absolutely necessary. It may be remarked in this connection that they always associate the leaves, if there be any, with the flower, for their object is to present the whole beauty of plant life. In this respect, as in many others, their method differs from that pursued in Western countries. Here we are apt to see only the flower stems, heads as it were, without body, stuck promiscuously into a vase. Okakura Kakuzō, The Book of Tea flowersgardens
If removed from the place for which it was intended A flower arrangement by a tea master loses its significance if removed from the place for which it was originally intended, for its lines and proportions have been specially worked out with a view to its surroundings. Okakura Kakuzō, The Book of Tea Conditional art flowers
Design skirmishes it is apparent that the unfolding of the design process assumed a distinctly episodic structure, which we might characterize as a series of related skirmishes with various aspects of the problem at hand. As the scope of the problem became more determined and finite for the designer, the episodic character of the process seems to have become less pronounced. During this period a systematic working out of issues and conditions took hold within the framework that had been established. This phenomenon is not at all surprising when we consider the fundamental difference between moments of problem solving when matters are poorly defined and those with clarity and sufficiency of structure. Within the episodic structure of the process, the problem, as perceived by the designer, tends to fluctuate from being rather nebulous to being more specific and well-defined. Furthermore, moments of "blinding" followed by periods of backtracking take place, where blinding refers to conditions in which obvious connections between various considerations of importance go unrecognized by a designer. Peter G. Rowe, Design Thinking The Design Squiggle processdesign