The Nature of Beauty
I died for beauty
The quality without a name
My own beauty reflected
On beauty bare
The Abode of Vacancy
The Abode of the Unsymmetrical
He only who has lived with the beautiful
The core assertion
Restrained beauty
A sense reflected in the plans
A world with pyramids
Which would you choose—
a world with pyramids,
or a world without?White cloth
I used to be very interested in the fact that anything, no matter how rough, rusted, diffy, or otherwise discredited it was, looked good if you set it down on a stretch of white cloth. Because anytime you set some detail of the world off that way, it was able to take on its true stature as an object of attention.
Ordinariness
We have a habit of thinking that the deepest insights, the most mystical, and spiritual insights, are somehow less ordinary than most things - that they are extraordinary.
In fact, the opposite is true: the most mystical, most religious, most wonderful – these are not less ordinary than most things – they are more ordinary than most things. And it is because they are so ordinary, indeed, that they strike to the core.
To deprecate beauty itself
One can gain a glimpse of the quality of a people’s life by the kind of paper they use for writing letters, for literary works, and for various other tasks. Paper should not be deprecated. To do so is to deprecate beauty itself.
A Painted Karatsu as Food for Thought
Recently there is a tendency to pursue distortion in art, but in the case of this jar, natural deformation has raised distortion to the level of spontaneous beauty.
That one thing against another creates
Such is our way of thinking—we find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.
If I can't be beautiful
Howl: I give up...I see no point in living if I can't be beautiful.
A grave and noble beauty
An architecture of our own age is slowly but surely shaping itself; its main lines become more and more evident. The use of steel and reinforced concrete construction; of large areas of plate glass; of standardized units (as, for example, in metal windows); of the flat roof; of new synthetic materials and new surface treatments of metals that machinery made possible; of hints taken from the airplane, the motor-car or the steamship where it was never possible, from the beginning, to attack the problem from an academic standpoint—all these things are helping, at any rate, to produce a twentieth-century architecture whose lineaments are already clearly traceable. A certain squareness of mass and outline, a criss-cross or “grid-iron” treatment with an emphasis on the horizontals, an extreme bareness of wall surface, a pervading austerity and economy and a minimum of ornament; these are among its characteristics. There is evolving, we may begin to suppose, a grave and classical architecture whose fully developed expression should be of a noble beauty.
How beautiful the world would be if there were a procedure for moving through labyrinths
Salk Institute for Biological Studies, La Jolla, 1959–65
If you are there at sunset, as are the scientists every day, you see the most magical of transformations: the golden glow that fills the sky to the west is first reflected in the water of the ocean and then shoots like a line of fire up through the gathering darkness of the plaza's stone floor, to reach its source in the cubic fountain. The court is breathtaking in its sublime power, opening at the edge of the continent to the Pacific Ocean and framing the light blue-on-dark-blue horizon line of the sea and sky.
The Caspian
The Caspian has its realms of sand,
Its other realm of sea;
Without the sterile perquisite
No Caspian could be.The quality of the day
It is something to be able to paint a particular picture, or to carve a statue, and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look, which morally we can do. To affect the quality of the day, that is the highest of arts.
Fucking up the world
City Hall by Rafael Moneo, Logroño, La Rioja, Spain.
Alexander : At least my experience tells me, that when a group of different people set out to try and find out what is harmonious, what feels most comfortable in such and such a situation, their opinions about it will tend to converge, if they are mocking up full-scale, real stuff. Of course, if they're making sketches or throwing out ideas, they won't agree. But if you start making the real thing, one tends to reach agreement. My only concern is to produce that kind of harmony.
The thing that strikes me about your friend's building – if I understood you correctly – is that somehow in some intentional way it is not harmonious. That is, Moneo intentionally wants to produce an effect of disharmony. Maybe even of incongruity.
Eisenman: That is correct.
Eisenman: I find that incomprehensible. I find it very irresponsible. I find it nutty. I feel sorry for the man. I also feel incredibly angry because he is fucking up the world.
It will not stand still to be pointed at
The cause of the experience of beauty is a series of events, not a state of affairs existing continuously. That perhaps is why the cause of the experience is something we find impossible to point out. It will not stand still to be pointed at. We can point out only what we perceive. We can never point out or describe what we see.
A curious fact
Is it not a curious fact that in a world steeped in irrational hatreds which threaten civilization itself, men and women — old and young — detach themselves wholly or partly from the angry current of daily life to devote themselves to the cultivation of beauty, to the extension of knowledge, to the cure of disease, to the amelioration of suffering, just as though fanatics were not simultaneously engaged in spreading pain, ugliness, and suffering? The world has always been a sorry and confused sort of place — yet poets and artists and scientists have ignored the factors that would, if attended to, paralyze them. From a practical point of view, intellectual and spiritual life is, on the surface, a useless form of activity, in which men indulge because they procure for themselves greater satisfactions than are otherwise obtainable.
Some emptiness in us
Whenever we encounter beauty we become aware, each time with a sense of shock and pleasure, faint though it may be, that some emptiness in us, not consciously felt but continually present, has been assuaged and fulfilled. We have a sudden high sense of completeness and harmony.
The matrix of all we know
Man's species has existed for an immensely longer period, unimaginably longer, in an unmodified natural environment. That unmodified environment was the matrix of all man knows of beauty. All the means of his experience of beauty evolved in it. Now, in the artificial environment, art creates an equivalent for that beauty, for it is a need of man's spirit.
Who did the teaching, then?
It has been contended sometimes that our response to works of art is entirely learnt and in no way innate; but the questions 'Who did the teaching, then? and how?' have not, I fancy, been much investigated. This contention is very true of our responses to styles and fashions, but it is not true of our response to beauty.
No kind
No kind of shape, no kind of design or kind of picture or other work of art can be beautiful. No kind of color is beautiful. Beauty comes always from the singularity of things. Two things which happen to be closely similar in size, color, insurance value, smell, weight, or shape, may both seem equally beautiful. It is not therefore to be deduced that, say, a smell of turpentine is a necessary prerequisite of beauty; and nor is the fact that the two things' shapes are measurably within a millimeter of each other. They might still be as different as chalk and cheese: they might differ hugely in surface quality so that one lived and the other was dead. One judges a man by what he is, by his individuality, his idiosyncrasy; not by his measurable properties or measurable behavior or by the shape of his nose or the description in his passport. So with a work of art.
Ideas of a good life
In essence, what works of design and architecture talk to us about is the kind of life that would most appropriately unfold within and around them. They tell us of certain moods that they seek to encourage and sustain in their inhabitants. While keeping us warm and helping us in mechanical ways, they simultaneously hold out an invitation for us to be specific sorts of people. They speak of visions of happiness.
To describe a building as beautiful therefore suggests more than a mere aesthetic fondness; it implies an attraction to the particular way of life this structure is promoting through its roof, door handles, window frames, staircase, and furnishings. A feeling of beauty is a sign that we have come upon a material articulation of certain of our ideas of a good life.
Inwardly to resemble
What we want, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty.
We can conclude from this that we are drawn to call something beautiful whenever we detect that it contains in a concentrated form those qualities which we personally, or our societies more generally, are deficient.
The extremes of order and complexity
Such works emphasize the truth of the ancient maxim that beauty lies between the extremes of order and complexity.
It follows that the balance we approve of in architecture, and which we anoint with the word ‘beautiful’, alludes to a state that, on a psychological level, we can describe as mental health or happiness. Like buildings, we, too, contain opposites which can be more or less successfully handled.
Beauty and strength
Yet the bridge testifies to how closely a certain kind of beauty is bound up with our admiration for strength, for man-made objects which can withstand the life-destroying forces of heat, cold, gravity or wind.
We respond with emotion to creations which transport us across distances we could never walk, which shelter us during storms we could not weather, which pick up signals we could never hear with our own ears and which hang daintily off cliffs from which we would fall instantly to our deaths.
With grace and economy
Both bridges accomplish daring feats, but Maillart’s possesses the added virtue of making its achievement look effortless - and because we sense it isn’t, we wonder at it and admire it all the more. The bridge is endowed with a subcategory of beauty we can refer to as elegance, a quality present whenever a work of architecture succeeds in carrying out an act of resistance - holding, spanning, sheltering - with grace and economy as well as strength; when it has the modesty not to draw attention to the difficulties it has surmounted.
Needs more love
He held the phone to his chest, looked at me, and simply said, “Needs more love.” He pushed the portfolio back across his desk, smiled warmly, and shooed me out of his office.
I still think about this advice, and what exactly he might have meant when he said my work needed more love. At the time, I took it to mean that I should improve my craft, but I’ve come to realize that he was speaking of something more fundamental and vital. My work was flat, because it was missing the spark that comes from creating something you believe in for someone you care about. This is the source of the highest craft, because an affection for the audience produces the care necessary to make the work well.
We hear a voice whisper
The Shakers have a proverb that says, “Do not make something unless it is both necessary and useful; but if it is both, do not hesitate to make it beautiful.” We all believe that design’s primary job is to be useful. Our minds say that so long as the design works well, the work’s appearance does not necessarily matter. And yet, our hearts say otherwise. No matter how rational our thinking, we hear a voice whisper that beauty has an important role to play.
Praise has no part in it
Everything that is in any way beautiful is beautiful of itself and complete in itself, and praise has no part in it; for nothing comes to be better or worse for being praised.
When a building has this fire
And when a building has this fire, then it becomes a part of nature. Like ocean waves, or blades of grass, its parts are governed by the endless play of repetition and variety, created in the presence of the fact that all things pass. This is the quality itself.
The gate
To reach the quality without a name we must build a living pattern language as a gate.
True artistry
The best of all examples of a satisfactory art form based upon the inner nature of a metal is provided by Japanese swords.
Our perception of beauty seems to involve the interaction of several patterns having origin and significance at many different levels of space, time, matter, and spirit. In the Japanese sword blade there is heterogeneity in both the macrostructure and the microstructure. The manner of forging, the heat treatment, and the final polishing operation are all uniquely Japanese techniques, and all make necessary contributions to the final quality of the blades. The shape along would be simplistic form; the forged texture of the steel without heat treatment would at best faintly echo the beauty of grained wood; the outlines of the quench-hardened zone at the edge would be sharp and uninteresting if it depended only on the control of cooling rate during quenching; and the polish would be uniform glitter if the metal were homogeneous. With true artistry all these are made to interact.
What we are accustomed to call beautiful
Most objects which we are accustomed to call beautiful, such as a painting or a tree, are single-purpose things, in which, through long development or the impress of one will, there is an intimate, visible linkage from fine detail to total structure.
Grace
Grace: you work and you work and you work at something that then happens of its own accord. It would not have happened without all that work, but the result cannot be accounted for as the product of the work in the sense that an effect is said to be the product of its causes. There is all that preparation—preparation for receptivity—and then there is something else beyond that, which is gratis, for free.
The Timeless Way of Building
A Book by Christopher Alexander- Mind of no mind
- The quality without a name
- An objective matter
- Bitterness
- The most precious thing we ever have
The Battle for the Life and Beauty of the Earth
A Book by Christopher Alexander- Two generating systems
- Two types of building production
- System A
- System B
- This has harmed modern society greatly
Chef's Table
A DocumentaryThe Nature and Aesthetics of Design
A Book by David PyeEinmal Ist Keinmal
An Article by Dan KlynThe Nature of Order
A Book by Christopher AlexanderAI-art isn’t art
An Essay by Erik HoelAI-generated artwork is the same as a gallery of rock faces. It is pareidolia, an illusion of art, and if culture falls for that illusion we will lose something irreplaceable. We will lose art as an act of communication, and with it, the special place of consciousness in the production of the beautiful.
…Just as how something being either an original Da Vinci or a forgery does matter, even if side-by-side you couldn’t tell them apart, so too with two paintings, one made by a human and the other by an AI. Even if no one could tell them apart, one lacks all intentionality. It is a forgery, not of a specific work of art, but of the meaning behind art.
Good Things
A Website by Melanie RichardsAgainst the survival of the prettiest
An Essay by Samuel HughesWhat has emerged here is that although survivorship bias probably does contribute to that to some extent, it is not the main explanation: premodern buildings may on average have been a bit less beautiful than those that have survived, but they still seem to have been ugly far less often than recent buildings are.
The survivorship theory sought to explain the apparent rise of ugliness in terms of a bias in the sample of buildings we are observing. There is another kind of bias theory, which seeks to explain it in terms of a bias in the observer, saying for instance that every generation is disposed to find recent buildings uglier than older ones, and that this is why recent buildings seem so to us. This is a complex and interesting idea, which I am not going to assess on this occasion. Suppose, though, that our eyes are to be trusted. If this is so, strange and eerie truths rise before us: that ugly buildings were once rare, that the ‘uglification of the world’ is real and that it is happening all around us.
In search of visual texture
An Article by Rachel PruddenI’m now more inclined to attribute Looseleaf’s power to its visual texture than to some cognitive media-style abstraction. And the visual texture owes more to the beauty (yes, beauty!) of the original pdfs from the Vasulka Archive. Perhaps the demo is best understood not as a prototype generic tool, but as a specific curated experience in its own right, with form and content claiming equal importance in its overall success.
Even so, I think there are some general lessons that can be drawn from this demo:
- Content is not inert
- Visual texture lets content breathe
- Visual texture lets the eye wander without losing itself
Beauty and compression
An Article by Scott AlexanderThe Buddha discusses states of extreme bliss attainable through meditation:
Secluded from sensual pleasures, secluded from unwholesome states, a bhikkhu enters and dwells in the first jhāna, which is accompanied by thought and examination, with rapture and happiness born of seclusion.
...If you could really concentrate on a metronome, it would be more blissful than a symphony. The jhāna is also a strong contender as a theory of beauty: beauty is that which is compressible but has not already been compressed.
How the light gets in
A Quote by Leonard CohenThere is a crack in everything.
That's how the light gets in.The Side View #17: Susan Ingham & Chris Andrews
An EpisodeIn this episode, we talk about the work of architect, builder, and design theorist Christopher Alexander. Joining us are two of Alexander’s former students, Susan Ingham and Chris Andrews. They talk about their philosophy of architecture and their program, Building Beauty, which offers a post-graduate diploma in architecture based around Alexander's ideas.
Beauty in flight
A QuoteAll of us had been trained by Kelly Johnson and believed fanatically in his insistence that an airplane that looked beautiful would fly the same way.
— Ben Rich, Skunk Works
Taste for Makers
An Essay by Paul GrahamIf there is such a thing as beauty, we need to be able to recognize it. We need good taste to make good things. Instead of treating beauty as an airy abstraction, to be either blathered about or avoided depending on how one feels about airy abstractions, let's try considering it as a practical question: how do you make good stuff?
butdoesitfloat
A Blog
A Pattern Language
- Its place in the web of nature
- 9. Scattered Work
- 21. Four-Story Limit
- 51. Green Streets
- 53. Main Gateways
Its place in the web of nature
This is a fundamental view of the world. It says that when you build a thing you cannot merely build that thing in isolation, but must also repair the world around it, and within it, so that the larger world at that one place becomes more coherent, and more whole; and the thing which you make takes its place in the web of nature, as you make it.
9. Scattered Work
Problem
The artificial separation of houses and work creates intolerable rifts in people’s inner lives.
Solution
Use zoning laws, neighborhood planning, tax incentives, and any other means available to scatter workplaces throughout the city. Prohibit large concentrations of work without family life around them. Prohibit large concentrations of family life without workplaces around them.
21. Four-Story Limit
Problem
There is abundant evidence to show that high buildings make people crazy.
Solution
In any urban area, no matter how dense, keep the majority of buildings four stories high or less. It is possible that certain buildings should exceed this limit, but they should never be buildings for human habitation.
51. Green Streets
Problem
There is too much hot hard asphalt in the world. A local road, which only gives access to buildings, needs a few stones for the wheels of the cars; nothing more. Most of it can still be green.
Solution
On local roads, closed to through traffic, plant grass all over the road and set occasional paving stones into the grass to form a surface for the wheels of those cars that need access to the street. Make no distinction between street and sidewalk. Where houses open off the street, put in more paving stones or gravel to let cars turn onto their own land.
53. Main Gateways
Problem: Any part of town—large or small—which is to be identified by its inhabitants as a precinct of some kind, will be reinforced, helped in its distinctness, marked, and made more vivid, if the paths which enter it are marked by gateways where they cross the boundary.
Solution: Mark every boundary in the city which has important human meaning—the boundary of a building cluster, a neighborhood, a precinct—by great gateways where the major entering paths cross the boundary.
66. Holy Ground
Problem
What is a church or temple? It is a place of worship, spirit, contemplation, of course. But above all, from a human point of view, it is a gateway. A person comes into the world through the church. They leave it through the church. And, at each of the important thresholds of their life, they once again step through the church.
Solution
In each community and neighborhood, identify some sacred site as consecrated ground, and form a series of nested precincts, each marked by a gateway, each one progressively more private, and more sacred than the last, the innermost a final sanctum that can only be reached by passing through all of the outer ones.
70. Grave Sites
Problem
No people who turn their backs on death can be alive. The presence of the dead among the living will be a daily fact in any society which encourages its people to live.
Solution
Never build massive cemeteries. Instead, allocate pieces of land throughout the community as grave sites—corners of parks, sections of paths, gardens, beside gateways—where memorials to people who have died can be ritually placed with inscriptions and mementos which celebrate their live. Give each grave site an edge, a path, and a quiet corner where people can sit. By custom, this is hallowed ground.
80. Self-Governing Workshops and Offices
Problem
No one enjoys their work if they are a cog in a machine.
Solution
Encourage the formation of self-governing workshops and offices of 5 to 20 workers. Make each group autonomous—with respect to organization, style, relation to other groups, hiring and firing, work schedule. Where the work is complicated and requires larger organizations, several of these work groups can federate and cooperate to produce complex artifacts and services.
104. Site Repair
Problem
Buildings must always be built on those parts of the land which are in the worst condition, not the best.
Solution
On no account place buildings in the places which are more beautiful. In fact, do the opposite. Consider the site and its buildings as a single living ecosystem. Leave those areas that are the most precious, beautiful, comfortable, and healthy as they are, and build new structures in those parts of the site which are least pleasant now.
106. Positive Outdoor Space
Problem
Outdoor spaces which are merely “left over” between buildings will, in general, not be used.
Solution
Make all outdoor spaces which surround and lie between your buildings positive. Give each one some degree of enclosure; surround each space with wings of buildings, trees, hedges, fences, arcades, and trellised walks, until it becomes an entity with a positive quality and does not spill out indefinitely around corners.
109. Long Thin House
Problem
The shape of a building has a great effect on the relative degrees of privacy and overcrowding in it, and this in turn has a critical effect on people’s comfort and well-being.
Solution
In small buildings, don’t cluster all the rooms together around each other; instead string out the rooms one after another, so that distance between each room is as great as it can be. You can do this horizontally—so that the plan becomes a thin, long rectangle; or you can do it vertically—so that the building becomes a tall narrow tower. In either case, the building can be surprisingly narrow and still work—8, 10, and 12 feet are all quite possible.
112. Entrance Transition
Problem: Buildings, and especially houses, with a graceful transition between the street and the inside, are more tranquil than those which open directly off the street.
Solution: Make a transition space between the street and the front door. Bring the path which connects street and entrance through this transition space, and mark it with a change of light, a change of sound, a change of direction, a change of surface, a change of level, perhaps by gateways which make a change of enclosure, and above all with a change of view.
126. Something Roughly in the Middle
Problem
A public space without a middle is quite likely to stay empty.
Solution
Between the natural paths which cross a public square or courtyard or a piece of common land, choose something to stand roughly in the middle: a fountain, a tree, a statue, a clock-tower with seats, a windmill, a bandstand. Make it something which gives a strong and steady pulse to the square, drawing people in toward the center. Leave it exactly where it falls between the paths; resist the impulse to put it exactly in the middle.
127. Intimacy Gradient
Problem
Unless the spaces in a building are arranged in a sequence which corresponds to their degrees of privateness, the visits made by strangers, friends, guests, clients, family, will always be a little awkward.
Solution
Lay out the spaces of a building so that they create a sequence which begins with the entrance and the most public parts of the building, then leads into the slightly more private areas, and finally to the most private domains.
134. Zen View
If there is a beautiful view, don’t spoil it by building huge windows that gape incessantly at it. Instead, put the windows which look onto the view at places of transition—along paths, in hallways, in entry ways, on stairs, between rooms.
If the view window is correctly placed, people will see a glimpse of the distant view as they come up to the window or pass it: but the view is never visible from the places where people stay.
135. Tapestry of Light and Dark
Problem
In a building with uniform light level, there are few “places” which function as effective settings for human events. This happens because, to a large extent, the places which make effective settings are defined by light.
Solution
Create alternating areas of light and dark throughout the building, in such a way that people naturally walk toward the light, whenever they are going to important places: seats, entrances, stairs, passages, places of special beauty, and make other areas darker, to increase the contrast.
159. Light on Two Sides of Every Room
Problem
When they have a choice, people will always gravitate to those rooms which have light on two sides, and leave the rooms which are lit only from one side unused and empty.
Solution
Locate each room so that it has outdoor space outside it on at least two sides, and then place windows in these outdoor walls so that natural light falls into every room from more than one direction.
168. Connection to the Earth
Problem
A house feels isolated from the nature around it, unless its floors are interleaved directly with the earth that is around the house.
Solution
Connect the building to the earth around it by building a series of paths and terraces and steps around the edge. Place them deliberately to make the boundary ambiguous—so that it is impossible to say exactly where the building stops and earth begins.
172. Garden Growing Wild
Problem
A garden which grows true to its own laws is not a wilderness, yet not entirely artificial either.
Solution
Grow grasses, mosses, bushes, flowers, and trees in a way which comes close to the way that they occur in nature: intermingled, without barriers between them, without bare earth, without formal flower beds, and with all the boundaries and edges made in rough stone and brick and wood which become a part of the natural growth.
179. Alcoves
Problem
No homogeneous room, of homogeneous height, can serve a group of people well. To give a group a chance to be together, as a group, a room must also give them the chance to be alone, in one’s and two’s in the same space.
Solution
Make small places at the edge of any common room, usually no more than 6 feet wide and 3 to 6 feet deep and possibly much smaller. These alcoves should be large enough for two people to sit, chat, or play and sometimes large enough to contain a desk or a table.
180. Window Place
Problem
Everybody loves window seats, bay windows, and big windows with low sills and comfortable chairs drawn up to them.
Solution
In every room where you spend any length of time during the day, make at least one window into a "window place".
190. Ceiling Height Variety
Problem
A building in which ceiling heights are all the same is virtually incapable of making people feel comfortable.
Solution
Vary the ceiling heights continuously throughout the building, especially between rooms which open into each other, so that the relative intimacy of different spaces can be felt. In particular, make ceilings high in rooms which are public or meant for large gatherings (10 to 12 feet), lower in rooms for smaller gatherings (7 to 9 feet), and very low in rooms for one or two people (6 to 7 feet).
197. Thick Walls
Problem
Houses with smooth hard walls made of prefabricated panels, concrete, gypsum, steel, aluminum, or glass always stay impersonal and dead.
Solution
Open your mind to the possibility that the walls of your building can be thick, can occupy a substantial volume—even actual usable space—and need not be merely thin membranes which have no depth. Decide where these thick walls ought to be.
205. Structure Follows Social Spaces
Problem
No building ever feels right to the people in it unless the physical spaces (defined by columns, walls, and ceilings) are congruent with the social spaces (defined by activities and human groups).
Solution
A first principle of construction: on no account allow the engineering to dictate the building’s form. Place the load bearing elements—the columns and the walls and floors—according to the social space of the building; never modify the social spaces to conform to the engineering structure of the building.
207. Good Materials
Problem
There is a fundamental conflict in the nature of materials for building in industrial society.
Solution
Use only biodegradable, low-energy-consuming materials, which are easy to cut and modify on site. For bulk materials we suggest ultra-lightweight 40–60 lbs. concrete and earth-based materials like tamped earth, brick, and tile. For secondary materials, use wood planks, gypsum, plywood, cloth, chickenwire, paper, cardboard, particle board, corrugated iron, lime plasters, bamboo, rope, and tile.
239. Small Panes
Problem
When plate glass windows became possible, people thought that they would put us more directly in touch with nature. In fact, they do the opposite.
Solution
Divide each window into small panes. These panes can be very small indeed, and should hardly ever be more than a foot square. To get the exact size of the panes, divide the width and height of the window by the number of panes. Then each window will have different sized panes according to its height and width.
247. Paving With Cracks Between the Stones
Problem
Asphalt and concrete surfaces outdoors are easy to wash down, but they do nothing for us, nothing for the paths, and nothing for the rainwater and plants.
Solution
On paths and terraces, lay paving stones with a 1 inch crack between the stones, so that grass and mosses and small flowers can grow between the stones. Lay the stones directly into the earth, not into mortar, and, of course, use no cement or mortar in between the stones.
249. Ornament
Problem
All people have the instinct to decorate their surroundings.
Solution
Search around the building, and find those edges and transitions which need emphasis or extra binding energy. Corners, places where materials meet, door frames, windows, main entrances, the place where one wall meets another, the garden gate, a fence—all these are natural places which call out for ornament.
Now find simple themes and apply the elements of the theme over and over again to the edges and boundaries which you decide to mark. Make the ornaments work as seams along the boundaries and edges so that they knit the two sides together and make them one.
250. Warm Colors
Problem
The greens and grays of hospitals and office corridors are depressing and cold. Natural wood, sunlight, bright colors are warm. In some way, the warmth of the colors in a room makes a great deal of difference between comfort and discomfort.
Solution
Choose surface colors which, together with the color of the natural light, reflected light, and artificial lights, create a warm light in the rooms.
251. Different Chairs
Problem
People are different sizes; they sit in different ways. And yet there is a tendency in modern times to make all chairs alike.
Solution
Never furnish any place with chairs that are identically the same. Choose a variety of different chairs, some big, some small, some softer than others, some rockers, some very old, some new, with arms, without arms, some wicker, some wood, some cloth.
252. Pools of Light
Problem
Uniform illumination—the sweetheart of the lighting engineers—serves no useful purpose whatsoever. In fact, it destroys the social nature of space, and makes people feel disoriented and unbounded.
Solution
Place the lights low, and apart, to form individual pools of light which encompass chairs and tables like bubbles to reinforce the social character of the spaces which they form. Remember that you can’t have pools of light without the darker places in between.
253. Things From Your Life
Problem
“Decor” and the conception of “interior design” have spread so widely, that very often people forget their instinct for the things they really want to keep around them.
Solution
Do not be tricked into believing that modern decor must be slick or psychedelic, or “natural” or "modern art", or “plants” or anything else that current taste-makers claim. It is most beautiful when it comes straight from your life—the things you care for, the things that tell your story.