Creativity
The Design Squiggle
Begin with your work
A Quote by Edward TufteIn doing creative work, do not start your day with addictive time-vampires such as The New York Times, email, and Twitter. All scatter the eye, and mind, produce diverting vague anxiety, clutter short-term memory. Instead, begin with your work. Many creative workers have independently discovered this principle.
The evolution of devices
All the first antecedents of man's devices were given him by Nature. Every one of his devices is traceable back to something in nature which suggested the first remote and primitive beginnings of its evolution. And every feature in art that man's mind conceived is conceived by a mind that has evolved as a part of nature: that grew out of nature.
The evolution of devices is as much a natural process as the evolution of organisms.
Leveling up aptitude
Your first short story takes 10 days to write. The next one 5 days, the next one 2.5 days, the next one 1.25 days. Then 0.625 days, at which point you’re probably hitting raw typing speed limits. In practice, improvement curves have more of a staircase quality to them. Rather than fix the obvious next bottleneck of typing speed (who cares if it took you 3 hours instead of 6 to write a story; the marginal value of more speed is low at that point), you might level up and decide to (say) write stories with better developed characters. Or illustrations. So you’re back at 10 days, but on a new level.
This kind of improvement replaces quantitative improvement (optimization) with qualitative leveling up, or dimensionality increase. Each time you hit diminishing returns, you open up a new front. You’re never on the slow endzone of a learning curve. You self-disrupt before you get stuck.
The interesting thing is, this is not purely a function not of raw prowess or innate talent, but of imagination and taste.
Thinking in situations
Naturally, practice is not preceded but followed by theory.
Such study promotes a more lasting teaching and learning
through experience. Its aim is development of creativeness
realized in discovery and invention – the criteria of creativity,
or flexibility, being imagination and fantasy. Altogether
it promotes “thinking in situations,” a new educational concept
unfortunately little known and less cultivated, so far.To prove it in purity
The series of photos of the 1959 model ends or stops with the photograph in which Kiesler triumphantly shows us the shell of his house like the remains of a creature taken from the seabed, a kind of Moby Dick harpooned and finally captured after the obsessive pursuit of a project that has taken up ten years of the life of the architect.
"I think that everybody has only one basic creative idea and no matter how he is driven off, you will find that he always comes back to it until he has a chance to prove it in purity, or die with the idea unrealized." — Frederick Kiesler
Live your ten years
Artists are only creative for 10 years...we engineers are no different. Live your 10 years to the full.
We feel it in our fingers
In System A, there is no architect separate from the contractor. We are builders, simply. As builders, we have a direct feeling about construction. We feel it in our fingers, so it is down to earth. One result of this down-to-earth quality is that everything is somewhat experimental. We make experiments all the time. Sometimes we place a piece of wood this way. Another time, we may like to try it that way. Any time something new comes up in the design of a building, we are very likely to try and invent the best way of building it. This is not a great big invention. Just a simple invention, the way we might invent a way of tying a piece of string, to hold a broken toy together. It is just practical.
To stand independent of himself
The creator’s love for his work is not a greedy possessiveness; he never desires to subdue his work to himself but always to subdue himself to his work. The more genuinely creative he is, the more he will want his work to develop in accordance with its own nature, and to stand independent of himself.
Violence to the very structure of our being
If we conclude that creative mind is in fact the very grain of the spiritual universe, we cannot arbitrarily stop our investigations with the man who happens to work in stone, or paint, or music, or letters. We shall have to ask ourselves whether the same pattern is not also exhibited in the spiritual structure of every man and woman. And, if it is, whether, by confining the average man and woman to uncreative activities and an uncreative outlook, we are not doing violence to the very structure of our being. If so, it is a serious matter, since we have seen already the unhappy results of handling any material in a way that runs counter to the natural law of its structure.
Intense activity, then relaxation
The working style is based on periods of intense activity, coupled with other periods of more relaxed, reflective contemplation. This working style may not be a reflection of a particular personality trait, but a necessary aspect of creative work, which requires alternating intense effort with relaxation.
Mondegreen
A mondegreen is a mishearing or misinterpretation of a phrase in a way that gives it a new meaning. Mondegreens are most often created by a person listening to a poem or a song; the listener, being unable to clearly hear a lyric, substitutes words that sound similar and make some kind of sense.
American writer Sylvia Wright coined the term in 1954, writing that as a girl, when her mother read to her from Percy's Reliques, she had misheard the lyric "layd him on the green" in the fourth line of the Scottish ballad "The Bonny Earl of Murray" as "Lady Mondegreen".
Misinterpretation as inspiration
A lot of people think dreams and drugs involve some magical inspiration. I think otherwise.
I rarely get inspired by dreams or drugs, but I have my own secret source of inspiration: mishearing other people. Somebody says something, I misinterpret it, and the misinterpretation is quite interesting – more interesting than anything I would have come up with on my own if asked to generate an interesting idea. Maybe it’s a clever joke or turn of phrase. Maybe it’s a neat idea. Sometimes I misunderstand people’s entire positions, and end up with positions much more interesting than the ones they were trying to push.
Logjam
- That there is a big danger in working in a single medium. The logjam you don’t even know you’re stuck in will be broken by a shift in representation.
The fountainhead of beauty
It might be said that the carving of a woodblock encompasses the greatest restriction on freedom. Printmakers come under extraordinary natural constraints on their work. Strangely enough, however, it is this restriction that is the fount of beauty. Constraint and restriction themselves become a blessing.
...Many people see a lack of freedom as the death knell of art. That may be true in the case of the fine arts, but in the handicrafts, lack of freedom is the fountainhead of beauty.
The final architectural embellishments
The final architectural embellishments for the neighborhood should be the most exceptional, a kind of punctuation by relief, the last bursts of creative potential as the scene shifts.
Reduced to an act of selection
“The more exact and complete the criteria are, the more creative the work becomes. The creative act is reduced to an act of selection.”
— Karl Gerstner, Designing Programmes (1963)
A normal wooden pencil
Aaron: You know that story about how NASA spent millions of dollars developing this pen that writes in Zero G? And how Russia solved the problem?
Abe: Yeah, they used a pencil.
Information remix
Effective writing stems from intelligently connecting the dots between the concepts you understand and can articulate. It stands to reason, then, that in order to generate more creativity you must not only add to a knowledge base, but deepen and expand the number of connections within the totality of the network. By establishing and explicitly mapping your knowledge, you allow yourself the freedom to remix information. You will often find that solutions come from previously unsuspected fields or topics—proving to be analogous in some shape or form.
Let the body wander
If the mind needs to wander, best let the body do the same. A short walk is more effective in coming up with an idea than pouring all the coffee in the world down your gullet.
The research agenda
Important connections are often made by accident, outside the bounds of our research agenda.
Use
I am pleading for the abolition of the word “use”, and for the freeing of the human spirit. To be sure, we shall thus free some harmless cranks. To be sure, we shall thus waste some precious dollars. But what is infinitely more important is that we shall be striking the shackles off the human mind and setting it free for the adventures which in our own day have, on the one hand, taken Hale and Rutherford and Einstein and their peers millions upon millions of miles into the uttermost realms of space and, on the other, loosed the boundless energy imprisoned in the atom.
A blue glow
The neurons that do expire are the ones that made imitation possible. When you are capable of skillful imitation, the sweep of choices before you is too large; but when your brain loses its spare capacity, and along with it some agility, some joy in winging it, and the ambition to do things that don't suit it, then you finally have to settle down to do well the few things that your brain really can do well - the rest no longer seems pressing and distracting, because it is now permanently out of reach. The feeling that you are stupider than you were is what finally interests you in the really complex subjects of life: in change, in experience, in the ways other people have adjusted to disappointment and narrowed ability. You realize that you are no prodigy, your shoulders relax, and you begin to look around you, seeing local color unrivaled by blue glows of algebra and abstraction.
As something we have never seen before
A true revelation, it seems to me, will emerge only from stubborn concentration on a solitary problem. I am not in league with inventors or adventurous, nor with travelers to exotic destinations. The surest - also the quickest - way to awake the sense of wonder in ourselves is to look intently, undeterred, at a single object. Suddenly, miraculously, it will reveal itself as something we have never seen before.
Leave the road when you wish
The subject of this book is not typographic solitude, but the old, well-traveled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose – if only we know the paths are there and have a sense of where they lead. That freedom is denied us if the tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown.
If you use this book as a guide, by all means leave the road when you wish. That is precisely the use of a road: to reach individually chosen points of departure. By all means break the rules, and break them beautifully, deliberately and well. That is one of the ends for which they exist.
From one Arte to another
New ideas would come about by a connexion and transferring of the observations of one Arte, to the uses of another, when the experience of several misteries shall fall under consideration of one mans minde.
The scale of human experience
It is the scale of human experience, from which thought and imagination take off, and to which they must return.
Memory & Fantasy
Memory and fantasy are related, as are recollection and imagination; one who cannot remember also cannot imagine, as memory is the very soil of imagination.
Flurry and lapse
"The process in creating that kind of canvas was like—what?—10 percent action and 90 percent ass scratching. First you prepared yourself, cleaning up and arranging your palette and tools, sweeping the floors, and then finally, when you were ready, you faced the empty white expanse of white canvas and made your first stroke."
The world itself dreams
For Plato and many medieval philosophers, imagination was construed primarily as a mimetic act of mirroring, representing, copying. This approach was often associated with deceit and illusion, with confounding original realities with secondary substitutes. By contrast, for Kant and the romantics—including German idealists and existentialists like Sartre—imagination was hailed as a productive force in its own right, the source of all true meaning and value.
Bachelard resisted both extremes. For him, imagination was at once receptive and creative—an acoustic of listening and an art of participation. The two functions, passive and active, were inseparable. The world itself dreams, he said, and we help give it voice.
Babble and Prune
For those who read and listen much more than they speak (guilty), an overly-strict Prune filter is applied to their writing; when these people go to write something of their own, their minds don’t produce thoughts nearly as “coherent, witty or wise as their hyper-developed Prune filter is used to processing”.
Hence, my dilemma and an opportunity to break out of this trap. I recognised that if I attempted to write at the quality I was used to reading at, first time every time, my brain would promptly grind to a halt—like trying to brainstorm with a group that laughs at your suggestions.
Write the books you want to read
An Article by Austin KleonA few nights ago, I was looking at the moon and I thought, “I’d like to read a cultural history of the moon.” I googled, and there it was. My friend Matt said, “Ideally, that is exactly how one should find everything they read…and write.”
It’s really that simple. You find the books you want to read… and if you can’t find them, you write them.
Inheriting Froebel's Gifts
A Podcast by Kurt KohlstedtFroebel’s Gifts were meant to be given in a particular order, growing more complex over time and teaching different lessons about shape, structure and perception along the way. A soft knitted ball could be given to a child just six weeks old, followed by a wooden ball and then a cube, illustrating similarities and differences in shapes and materials. Then kids would get a cylinder (which combines elements of both the ball and the cube) and it would blow their little minds. Some objects were pierced by strings or rods so kids could spin them and see how one shapes morphs into another when set into motion. Later came cubes made up of smaller cubes and other hybrids, showing children how parts relate to a whole through deconstruction and reassembly.
These perception-oriented “Gifts” would then give way to construction-oriented “Occupations.” Kids would be told to build things out of materials like paper, string, wire, or little sticks and peas that could be connected and stacked into structures.
Don’t Play It Like the Flute
An Article by Matthias OttDon’t play it like the flute. Play it as if it was the wind whistling through the desert dunes.
No matter what you love to create, there is something to be learned from the way Hans Zimmer approached the Dune score. We are all striving to create work that is novel, innovative, memorable, and inspiring. To get there, however, we tend to focus on getting things right, on avoiding mistakes, on “being professional”. Yes, it is important to have the commitment, dedication, and attention to detail of a professional. But being right? That will only take you so far. What is much more important is to approach the problem in front of you with curiosity and an open mind. With an urge to explore what can be found beyond the ordinary, beyond the right way of doing things. If you want to create something that nobody has come up with yet, it is important that you try out all the crazy ideas others are afraid to try, that you build prototypes, improvise, and freely play with the materials and the technologies you have at hand.
Makers and Making
An Article by Alan JacobsThe [Silmarils] are good; their making was at least potentially innocent; but afterward arose a lust for owning and controlling that led to great tragedy… The aspect of humanity which the elves represent most fully – both for good and ill – is the creative one.”
And this is why “making” in and of itself is not the answer to our decadent moment. “Love of things, especially artificial things, could be seen as the besetting sin of modern civilisation, and in a way a new one, not quite Avarice and not quite Pride, but somehow attached to both” – and this is the Fëanor Temptation. It is in light of this temptation that I advocate repair, which is a mode of caring for what we have not made, but rather what we have inherited. We will not be saved by the making of artifacts — or from the repair of them, either; but the imperative of repair has these salutary effects: it reminds us of our debt to those who came before us and of the fragility of human constructs.
The McDonald’s Theory of Creativity
An Article by Jon BellI use a trick with co-workers when we’re trying to decide where to eat for lunch and no one has any ideas. I recommend McDonald’s.
An interesting thing happens. Everyone unanimously agrees that we can’t possibly go to McDonald’s, and better lunch suggestions emerge. Magic!
It’s as if we’ve broken the ice with the worst possible idea, and now that the discussion has started, people suddenly get very creative. I call it the McDonald’s Theory: people are inspired to come up with good ideas to ward off bad ones.
The Helsinki Bus Station Theory
An Article by Arno Rafael MinkkinenStay on the bus. Stay on the f*cking bus.
Why? Because if you do, in time you will begin to see a difference.
The buses that move out of Helsinki stay on the same line but only for a while, maybe a kilometer or two. Then they begin to separate, each number heading off to its own unique destination. Bus 33 suddenly goes north, bus 19 southwest.
...It’s the separation that makes all the difference, and once you start to see that difference in your work from the work you so admire (that’s why you chose that platform after all), it’s time to look for your breakthrough.
Suddenly your work starts to get noticed. Now you are working more on your own, making more of the difference between your work and what influenced it.
Your vision takes off.
Design Systems, Agile, and Industrialization
An Article by Brad FrostI’ve come to the conclusion that “enterprise web development” is just regular web development, only stripped of any joy or creativity or autonomy. It’s plugging a bunch of smart people into the matrix and forcing them to crank out widgets and move the little cards to the right.
In these structures, people are stripped of their humanity as they’re fed into the machine. It becomes “a developer resource is needed” rather than “Oh, Samantha would be a great fit for this project.” And the effect of all this on individuals is depressing. When people’s primary motivation is to move tickets over a column, their ability to be creative or serve a higher purpose are almost completely quashed. Interaction with other humans seems to be relegated to yelling at others to tell them they’re blocked.
Reading “AS PER THE REQUIREMENTS” in tickets makes me dry heave. How did such sterile, shitty language seep into my everyday work?
Input as collage
An Article by Austin KleonYour output depends on your input, but a lot of your input is random: you’re interested in lots of different things, and those things, occasionally, will talk to each other in your work.
Lately I’ve been thinking about being more intentional with input. Thinking about input as collage. Taking the principle of juxtaposition (1+1=3) and using that to guide your input: what weird, seemingly disparate things can you feed your brain that will come out later in a new mix?
The input collage can be subject or genre based and even better if it’s multi-media.
...There’s a balance here between feeding your brain intentionally and then backing off and letting your brain do the subconscious work of mixing your inputs together.
Touch the keys
An Article by Rach SmithIn his course Being Productive: Simple Steps to Calm Focus, Kourosh Dini emphasises the importance of taking a moment to “be with” the work every day (or however frequently you need to tackle a project). “Being with” your work is to be fully present and intentional about that activity and doing nothing else.
This idea was inspired by Dini’s piano teacher, who encouraged him to sit at his piano and touch the keys every day. Even on the days that he felt he had no time or inclination to practice. Sometimes touching the keys would lead to a good practice session, even when he didn’t feel like it would before he actually gave it a go.
Just like Dini, I find that once I give the task my full attention and be present, the actual doing of it turns out to be much easier and more enjoyable than my mind had been expecting. As usual, the resistance to getting started is far more uncomfortable than actually doing the thing.
To pick up my pen
An Article by Nick CaveThe most important undertaking of my day is to simply sit down at my desk and pick up my pen. Without this elementary act I could not call myself a songwriter, because songs come to me in intimations too slight to be perceived, unless I am primed and ready to receive them. They come not with a fanfare, but in whispers, and they come only when I am at work.
Chance favors the prepared mind
A Quote by Louis PasteurDesigner + Developer Workflow
An Article by Dan MallThe way designers and developers work together today is broken. It’s too siloed and separate; “collaboration” is a fantasy that few enjoy.
The state of advertising in the 1940s was similar. All of that changed when copywriter Bill Bernbach met art director Paul Rand. Their collaborative working style led to the birth of the idea of “the creative team,” the mutual respect and partnership between art director and copywriter that tended to yield unique results. Bob Gage, an art director that worked for DDB, the agency Bernbach co-founded, described it like this:
“Two people who respect each other sit in the same room for a length of time and arrive at a state of free association, where the mention of one idea will lead to another idea, then to another. The art director might suggest a headline, the writer a visual. The entire ad is conceived as a whole, in a kind of ping pong between disciplines.”
Isn’t that what we all strive for in our jobs? True collaboration with equals and partners? Ideas that build off one another? Why does this seem so far away for some of us?
Forget the computer — here’s why you should write and design by hand
An Article by Herbert LuiIn the middle of the 2000s, the designers at creative consultancy Landor installed Adobe Photoshop on their computers and started using it. General manager Antonio Marazza tells author David Sax:
“Overnight, the quality of their designs seemed to decline. After a few months of this, Landor’s Milan office gave all their designers Moleskine notebooks, and banned the use of Photoshop during the first week’s work on a project. The idea was to let their initial ideas freely blossom on paper, without the inherent bias of the software, before transferring them to the computer later for fine-tuning. It was so successful, this policy remains in place today.”
The right box to think inside of
A Quote by Aza RaskinDesign is not about learning to think outside the box, it’s about finding the right box to think inside of.
Enjoying the garden together
A Quote by Brian EnoAnd essentially the idea there is that one is making a kind of music in the way that one might make a garden. One is carefully constructing seeds, or finding seeds, carefully planting them and then letting them have their life.
What this means, really, is a rethinking of one’s own position as a creator. You stop thinking of yourself as me, the controller, you the audience, and you start thinking of all of us as the audience, all of us as people enjoying the garden together. Gardener included.
Hacking is the opposite of marketing
An Article by Tom MacWrightOne of my favorite definitions of “hacking” is the creative reuse of tools for new and unexpected purposes. Hacking is using your email account as a hard drive, using your bicycle seat to open a beer, using Minecraft’s red bricks to create a calculator in the game.
The opposite of hacking is marketing. Marketing tells you that this particular non-stick pan is the pan you’ll use to make omelettes, and you’ll do it in the morning dressed in fashionable clothing in a nice kitchen. It includes a photo and inspirational copywriting to drive this home. Marketing dictates a style, context, and purpose for even the most general-purpose products. This narrative needs to be specific so that you can readily imagine it: it’s you, in an Airbnb, laughing with friends.
Waiting around to write
A Quote by Gertrude SteinIf you write a half hour a day it makes a lot of writing year by year. To be sure all day and every day you are waiting around to write that half hour a day.
In defense of disorder: on career, creativity, and professionalism
An Essay by Chia AmisolaProfessionalism is a lie, build what you love, explore everything. In today’s age of creation, anyone who attempts to tell you otherwise is lying. You’ll end up seeking what you traded for the rest of your life.
Negative Creativity
An Article by Scott AlexanderComing up with entirely novel ideas is really, really hard.
10 Years with Hayao Miyazaki
A Documentary by Hayao MiyazakiAn exclusive, behind-the-scenes look at the genius of Japan's foremost living film director, Hayao Miyazaki — creator of some of the world's most iconic and enduring anime feature films.
The Microsoft Sound
A Quote by Brian EnoThe thing from the agency said, "We want a piece of music that is inspiring, universal, blah- blah, da-da-da, optimistic, futuristic, sentimental, emotional," this whole list of adjectives, and then at the bottom it said "and it must be 3 1/4 seconds long."
I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel.
In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.
Painting With the Web
An Article by Matthias OttSo much about [Gerhard Richter's painting process] reminds me of designing and building for the Web: The unpredictability, the peculiarities of the material, the improvisation, the bugs, the happy accidents. There is one crucial difference, though. By using static wireframes and static layouts, by separating design and development, we are often limiting our ability to have that creative dialogue with the Web and its materials. We are limiting our potential for playful exploration and for creating surprising and novel solutions. And, most importantly, we are limiting our ability to make conscious, well-informed decisions going forward. By adding more and more layers of abstraction, we are breaking the feedback loop of the creative process.
Early work
An Essay by Paul GrahamImagine if we could turn off the fear of making something lame. Imagine how much more we'd do.
The Small Group
An Article by James MulhollandLying somewhere between a club and a loosely defined set of friends, the SMALL GROUP is a repeated theme in the lives of the successful. Benjamin Franklin had the Junto Club, Tolkien and C.S. Lewis had The Inklings, Jobs and Wozniak had Homebrew.
Around a dozen members is the sweet spot of social motivation: small enough to know everyone, yet large enough that the group won’t collapse if one or two members’ enthusiasm wanes; small enough that you are not daunted by competing with the whole world, yet large enough that you still need to be on your toes to keep up.
Scenius
Scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.
You and Your Research
A Speech by Richard HammingThis talk centered on Hamming's observations and research on the question "Why do so few scientists make significant contributions and so many are forgotten in the long run?"
Don't think big
An Article by Ralph AmmerOne of the biggest mistakes you can make in your creative project is to pick a topic which is too big. Big topics often lead to small results, small topics foster great results.
And here is why: Your project is limited by the time and energy you have.
These are the boundaries of your project. If you pick a huge topic then there is not much room for your creative efforts. On the other hand, if you pick a small topic you have time and energy to make a great creative contribution.
Introduction to Permaculture
The conscious design and maintenance of agriculturally productive systems which have the diversity, stability, and resilience of natural ecosystems. It is the harmonious integration of the landscape with people providing their food, energy, shelter and other material and non-material needs in a sustainable way.
About Permaculture
The word Permaculture is taken from the Latin Permanens–meaning to endure of persist through time and cultura–referring to cultures–coming together. Permaculture is an interdisciplinary design science in the field of sustainable system design, with sustainable defined as:
a system which over its lifetime produces energy equivalent to or in excess of what it consumes.
Permaculture ethics
Permaculture operates on three:
- Care of Earth
- Care of Species
- Return of Surplus to the first two
Using akido on the landscape
I have spoken, on a more mundane level, of using akido on the landscape, of rolling with the blows, turning adversity into strength, and using everything positively. The other approach is to karate the landscape, to try to make it yield by using our strength, and striking many hard blows. But if we attack nature we attack (and ultimately destroy) ourselves.
Permaculture principles
There are two basic steps to good permaculture design. The first deals with laws and principles, while the second is more closely associated with practical techniques.
The principles are inherent in any permaculture design, in any climate, and at any scale. They are, briefly:
- Relative location: every element is placed in relationship to another so that they assist each other
- Each element performs many functions.
- Each important function is supported by many elements.
- Efficient energy planning for house and settlement.
- Emphasis on the use of biological resources over fossil fuel resources.
- Energy recycling on site.
- Using and accelerating natural plant succession to establish favourable sites and soils.
- Polyculture and diversity of beneficial species for a productive, interactive system.
- Use of edge and natural patterns for best effect.
Design is a connection between things
The core of permaculture is design. Design is a connection between things. It's not water, or a chicken, or the tree. It is how the water, the chicken and the tree are connected. It's the very opposite of what we are taught in school. Education takes everything and pulls it apart and makes no connections at all. Permaculture makes the connection, because as soon as you've got the connection you can feed the chicken from the tree.
To enable a design component to function efficiently, we must put it in the right place.
Inputs and outputs
For things to work properly, we must remember that:
- The inputs needed by one element are supplied by other elements in the system; and
- The outputs needed by one element are used by other elements (including ourselves).
Each element performs many functions
Each element in the system should be chosen and placed so that it performs as many functions as possible.
Each important function is supported by many elements
Important basic needs such as water, food, energy, and fire protection should be served in two or more ways.
The wild energies
Sectors deal with the wild energies, the elements of sun, light, wind, rain, wildfire, and water flow. These all comes from outside our system and pass through it. For these, we arrange a sector diagram based on the real site, usually a wedge-shaped area that radiates from a centre of activity.
Elements are placed according to intensity of use, control of external energies, and efficient energy flow.
Turn them into cycles
Permaculture systems seek to stop the flow of nutrient and energy off the site and instead turn them into cycles, so that, for instance, kitchen wastes are recycles to compost; animal manures are directed to biogas production or to the soil; household greywater flows to the garden; green manures are turned into the earth; leaves are raked up around trees as mulch.
Time stacking
The British devised a system of farming in which pastures were broken up after the animals had been on them a few years. The pasture was plowed up and put into a high nutrient-demand crop, followed by a grain crop, followed by a root crop. One year it was left fallow to rest the soil. This was sustainable, but it took a long time to cycle.
Masanobu Fukuoka, that master strategist, deals with time stacking. He does not have to follow, because he never removes the main part of the crop from the soil. He starts the next crop before the last crop is finished.
The garden is a riot
In conventional agriculture, vegetation is kept at the weed or herb level using energy to keep it cut, weeded, tilled, fetilised, and even burnt; that is, we are constantly setting the system back and incurring work and energy-costs when we stop natural succession from occurring.
Instead of fighting this process, we can direct and accelerate it to build our own climax species in a shorter time.
There is no attempt to form the garden into strict neat rows; it is a riot of shrubs, vines, garden beds, flowers, herbs, a few small trees, and even a small pond. Paths are sinuous, and garden beds might be round, key-holed, raised, spiraled, or sunken.
We should not confuse order and tidiness
To the observer, this may seem like a very unordered and untidy system; however, we should not confuse order and tidiness. Tidiness separates species and creates work, whereas order integrates, reducing work and discouraging insect attack. European gardens, often extraordinarily tidy, result in functional disorder and low yield. Creativity is seldom tidy.
Perhaps we could say that tidiness is something that happens when compulsive activity replaces thoughtful creativity.
The number of ways in which things work
The importance of diversity is not so much the number of elements in a system; rather it is the number of functional connections between these elements. It is not the number of things, but the number of ways in which things work.
Species guilds
Guilds are made up of a close association of species clustered around a central element (plant or animal). This assembly acts in relation to the element to assist its health, aid in management, or buffer adverse environmental effects.
An edge is an interface
An edge is an interface between two mediums. Edges are places of varied ecology. There is hardly a sustainable traditional human settlement that is not sited on those critical junctions of two natural economies. Successful and permanent settlements have always been able to draw from the resources of at least two environments.
An edge is a sieve
The edge (boundary) acts as a net or sieve: energies or materials accumulate at edges, e.g. soil and debris are blown by wind against a fence; seashells form a line at the tide-marks on a beach; leaves accumulate at kerbsides in a city.
Everything works both ways
Disadvantages can be viewed as "problems" and we can take an energy-expensive approach to "get rid of the problem", or we can think of everything as being a positive resources: it us up to us to work out just how we can make use of it.
"Problems" can be intractable weeds, huge boulders lying on the perfect house site, and animals eating garden and orchard produce. How can we turn these into useful components of our system? Boulders on the perfect house site, for example, can be incorporated into the house itself, for beauty and as a heat storage system.
The quality of thought
It is the quality of thought and the information we use that determines yield, not the size or quality of the site.
Let the goals suggest themselves
There are several ways to start the design process, depending on your nature and needs. You can start out by defining your goals, as precisely as possible, and then look at the site with these goals in mind. Or you can take the site with all its characteristics (both good and bad), and let goals suggest themselves. Of the two questions—"What can I make this land do?"—or—"What does this land have to give me?"—the first may lead to exploitation of the land without regard to long-term consequences, while the second to a sustained ecology guided by our intelligent control.
Maps and observation
Maps are useful only when they are used in combination with observation. Never try to design a site by just looking at a map, even if it is thoroughly detailed with contour lines, vegetation, erosion gullies, and so on marked in.
Maps are never representative of the complex reality of nature. Remember, "The map is not the territory."
Reading the landscape
As we walk about a site and talk to people, we can note our observations. At this stage, we try to store the information we gain in some accurate way, carry a notebook, or a camera and tape-recorder, and make small sketches. The notes we end up with can later be used to devise design strategies.
We do not just see and hear, smell and taste, but we sense heat and cold, pressure, stress from efforts of hill-climbing or prickly plants, and find compatible or incompatible sites in the landscape. We note good views, outlooks, soil colours and textures. In face, we use (consciously) all our many senses and become aware of our bodies and responses.
Beyond this, we can sit for a time and notice patterns and processes: how some trees prefer to grow in rocks, some in valleys, others in grasslands or clumps. We see how water flows on the site, where fires have left scars, winds have bent branches or deformed the shape of trees, how the sun and shadows move, and where we find signs of animals resting, moving, or feeding. The site is full of information on every natural subject, and we must learn to read it well.
The group of blind mullahs
In a natural landscape, each element is part of the greater whole, a sophisticated and intricate web of connections and energy flows. If we attempt to create landscapes using a strictly objective viewpoint, we will produce awkward and dysfunctional designs because all living systems are more than just a sum of their parts. Our culture has tried to define the landscape scientifically, by collecting extensive data about its parts.
These methods are much like the group of blind mullahs in the Sufi tale, who try to describe an elephant.
If you have to do tedious work
If you have to stand somewhere doing tedious work, at least make it interesting.
The perverse arrangement of older houses
The main problem lies in the often perverse arrangement of older houses, which face the road rather than the sun, and in the mania for glass windows on all outside walls.
Always start at the doorstep
If you are having trouble knowing where to start, always start at the doorstep.
The American lawn
The American lawn uses more resources than any other agricultural industry in the world. The American lawn could feed continents if people had more social responsibility.
Why should it be indecent to have anything useful in the front half of your property or around the house where people can see it? Why is it low-status to make that area productive? The condition is peculiar to the British landscaping ethic; what we are really looking at here is a miniature British country estate, designed for people who had servants. It has become a cultural status symbol to present a non-productive facade. The lawn and its shrubbery is a forcing of nature and landscape into a salute to wealth and power, and has not other purpose or function.
The only thing that such designs demonstrate is that power can force men and women to waste their energies in controlled, menial, and meaningless toil.
From consumption to production
I see no other solution (political, economic) to the problems of mankind than the formation of small responsible communities involved in permaculture and appropriate technology. I believe that the days of centralised power are numbered, and that a re-tribalisation of society is an inevitable, if sometimes painful, process.
The greatest change we need to make is from consumption to production, even if on a small scale, in our own gardens.
People who force nature force themselves
People who force nature force themselves. When we grow only wheat, we become dough. If we seek only money, we become brass; and if we stay in the childhood of team sports, we become a stuffed leather ball.
To become a complete person, we must travel many paths, and to truly own anything, we must first of all give it away.
Eaves and sun