Material
From the head of Jove
Aesthetically motivated curiosity
Whose eyes had seen and whose fingers had felt
More than the Graces and less than the Muses
The idea grows as they work
Materials and how to employ them
What the material wants to be
What the brick really wants.
We are working against the grain of the wood
Violence to the very structure of our being
A passive beauty of right structure
In conformity with its proper nature
A single material
The material finds the right object
Rather than the craft object finding the most suitable material, it can be said that the material finds the right object. Folk crafts are invariably the product of a local environment. When a certain locality is rich in a certain raw material, that material gives rise to a certain craftware.
Invisible substance
We wanted wood, not only in many visible places, but also in the roof trusses of the homeroom buildings, where they are invisible. Fujita wanted to replace the invisible trusses with steel trusses. They could not understand the idea that it was the actual substance — even though not visible — which would control the feeling of the thing.
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.
Separation of surface and structure
The nineteenth century saw an increasing separation between the treatment of the surface and the structure of designed objects. Mass production and a mobile market economy encouraged the production of heavily ornamented yet cheaply fabricated products. Affordable manufacture allowed the burgeoning middle class to acquire “luxury” goods fashioned after objects formerly reserved for an elite.
Lacquerware
There are good reasons why lacquer soup bowls are still used, qualities which ceramic bowls simply do not possess. Remove the lid from a ceramic bowl, and there lies the soup, every nuance of its substance and color revealed. With lacquerware there is a beauty in that moment between removing the lid and lifting the bowl to the mouth when one gazes at the still, silent liquid in the dark depths of the bowl, its color hardly different from that of the bowl itself.
Nearer to the surface
If in the following I overemphasize the Orient, this is simply because in the Far East the properties of materials are a little nearer to the surface, a little more consciously a part of what the artist is trying to show. The naturalistic aspects of Oriental philosophy encourage a sensitivity to the quality of materials — or is it the inverse, that an early enjoyment of stone, wood, clay, and fiber gave rise to the philosopher’s perception of the soul in all natural things comparable to man himself? Westerners tend to override materials, usually in ignorance, but sometimes proudly as a tour de force.
The inner nature of material
The work of an artist in getting the details that he wants is greatly facilitated if he selects a material whose inner nature makes it want to take the desired shape.
Lightness & Heaviness
"Lightness is born of heaviness and heaviness of lightness, instantaneously and reciprocally, returning creation for creation, gaining strength proportionally as they gain in life, and as much more in life as they gain in motion. They destroy one another also at the same time, fulfilling a mutual vendetta, proof that lightness is created only in conjunction with heaviness, and heaviness only where lightness follows."
— Leonardo da Vinci
We must go with them
"You cannot make what you want to make, but what the material permits you to make. You cannot make out of marble what you would make out of wood, or out of wood what you would make out of stone. Each material has its own life, and one cannot without punishment destroy a living material to make a dumb senseless thing. That is, we must not try to make our materials speak our language, we must go with them to the point where others will understand their language."
— Constantin Brancusi
Wood
Wood speaks of its two existences and timescales: its first life as a growing tree and the second as a human artefact made by the caring hand of a carpenter or cabinet maker.
American Folk Art Museum, New York City, 1998–2001
As we draw closer, we see that the three-faceted planes of the museum are fabricated out of rectangular panels made of white bronze that was poured directly into dammed forms on the concrete floor of the foundry, producing a surface texture similar to both metal and stone.
Power law
Buildings which most profoundly communicate subtle harmony are composed of a complex mixture of materials, with the overall amounts of different materials jumping in a calibrated cascade — typically according to a power law. The relative proportions — the statistical distribution of materials by quantity of total visible area — is critical. It is this specific distribution, not just the mixture, which creates depth of feeling.
A Search for Structure
A Book by Cyril Stanley SmithThe Craftsman
A Book by Richard SennettIn Praise of Shadows
A Book by Jun'ichirō Tanizaki & Thomas J. Harper- Things that shine and glitter
- A naked bulb
- The Japanese toilet
- Empty dreams
- Most important of all are the pauses
In praise of pastiche
An Essay by Samuel HughesSo: it is perfectly true that contemporary traditional architecture tends to be structurally dishonest. But traditional architecture has always tended to be structurally dishonest. So if this is what makes contemporary traditional architecture pastiche, then most traditional architecture has been pastiche since the faux timbering of the Parthenon. Contemporary traditional architects have most of the great builders of our history as their companions in guilt.
The Finish Fetish Artists
An EssayFor others, perhaps especially those artists who worked with light and transparency and were involved in the birth of the Light and Space Movement, an immaculate surface is a prerequisite. Helen Pashgian explained this very clearly:
“On any of these works, if there is a scratch... that’s all you see. The point of it is not the finish at all – the point is being able to interact with the piece, whether it is inside or outside, to see into it, to see through it, to relate to it in those ways. But that’s why we need to deal with the finish, so we can deal with the piece on a much deeper level”.
The importance of a pristine surface calls for a very low tolerance to damage by the artists. The feeling is shared by Larry Bell:
“I don’t want you to see stains on the glass. I don’t want you to see fingerprints on the glass... I don’t want you to see anything except the light that’s reflected, absorbed, or transmitted”
The light that hits the glass
A Quote by Larry BellMy media isn’t glass, it’s the light that hits that glass.
On 'The Master and His Emissary'
A Quote by Ian McGilchristPeople who make works of art, whatever they might be, have gone to great trouble to make something unique which is embodied in the form that it is, and not in any other form, and that it transmits things that remain implicit
...Works of art are not just disembodied, entirely abstract, conceptual things. They are embodied in the words they’re in or in paint or in stone or in musical notes or whatever it might be.
Craft and Material in Digital Design
An ArticleThe joy of the humble brick
An Article by Tim HarfordThe brick is one of those old technologies, like the wheel or paper, that seem to be basically unimprovable. ‘The shapes and sizes of bricks do not differ greatly wherever they are made,’ writes Edward Dobson in the fourteenth edition of his Rudimentary Treatise on the Manufacture of Bricks and Tiles. There’s a simple reason for the size: it has to fit in a human hand. As for the shape, building is much more straightforward if the width is half the length.
An audio professional's take on vinyl
An ArticleThe analog-digital debate in audio is a longstanding one, and while it is unlikely to be resolved anytime soon, I thought I might be able to offer some background as a longtime audio professional and musician. Recordings are a beautiful mix of technical and aesthetic concerns, and this post will attempt to tease out how to navigate these two framings of music recording, especially with regard to the often-oversimplified distinction between analog and digital recordings.
Washi
An Essay from The Beauty of Everyday Things by Yanagi SōetsuHandmade washi (traditional Japanese paper) is replete with appeal. Looking at it, touching it, fills me with an indescribable sense of satisfaction. The more beautiful it is, however, the more difficult it is to put to use. Only a master of calligraphy could possibly add to its beauty; it is exquisite just as it is. This is wonderfully strange, for it is merely a simple material. Yet plain and undecorated as it is, it is alive with nuanced beauty. Good washi makes possible our most ambitious creative dreams.
Material tour de force: The work of Eladio Dieste
An Essay by Eladio DiesteI have explained, and supported with evidence, the concern for rationality in construction and economy understood in, I dared to say, a cosmic sense rather than a financial sense. However, this is not the whole thing that has guided me. I have also been guided by a sharp, almost painful, awareness of form.
Cosmic economy
A Quote by Eladio DiesteThere 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.
Rationality: From AI to Zombies
The Tao of rationality
If you would learn to think like reality, then here is the Tao:
Since the beginning
not one unusual thing
has ever happened.Everyone sees themselves as behaving normally
To understand why people act the way they do, we must first realize that everyone sees themselves as behaving normally.
Argue against the best
To argue against an idea honestly, you should argue against the best arguments of the strongest advocates.
It’s all too easy to argue that someone is exhibiting Bias #182 in your repertoire of fully generic accusations, but you can’t settle a factual issue without closer evidence. If there are biased reasons to say the sun is shining, that doesn’t make it dark out.
Let the meaning choose the word
What is above all needed is to let the meaning choose the word, and not the other way around.
Probably it is better to put off using words as long as possible and get one’s meaning as clear as one can through pictures and sensations.
People can stand for what is true, for they are already enduring it
Knowing the design
Knowing the design can tell you much about the designer; and knowing the designer can tell you much about the design.
Cutting through to the truth
The essential thing in the art of epistemic rationality is to understand how every rule is cutting through to the truth in the same movement.
Your sword has no blade. It has only your intention. When that goes astray you have no weapon.
Joy in the merely attainable
But the really fundamental problem with desiring the unattainable is that as soon as you actually get it, it stops being unattainable. If we cannot take joy in the merely available, our lives will always be frustrated.
I have failed my art
The novice goes astray and says, “The art has failed me.”
The master goes astray and says, “I have failed my art."Taboo your words
Albert says that people have “free will.” Barry says that people don’t have “free will.” Well, that will certainly generate an apparent conflict. Most philosophers would advise Albert and Barry to try to define exactly what they mean by “free will,” on which topic they will certainly be able to discourse at great length. I would advise Albert and Barry to describe what it is that they think people do, or do not have, without using the phrase “free will” at all.
Your map of reality
Reality is very large—just the part we can see is billions of lightyears across. But your map of reality is written on a few pounds of neurons, folded up to fit inside your skull. I don’t mean to be insulting, but your skull is tiny. Comparatively speaking. Inevitably, then, certain things that are distinct in reality, will be compressed into the same point on your map. But what this feels like from inside is not that you say, “Oh, look, I’m compressing two things into one point on my map.” What it feels like from inside is that there is just one thing, and you are seeing it.
What you're trying to swim
There is an art to using words; even when definitions are not literally true or false, they are often wiser or more foolish. Dictionaries are mere histories of past usage; if you treat them as supreme arbiters of meaning, it binds you to the wisdom of the past, forbidding you to do better. Though do take care to ensure (if you must depart from the wisdom of the past) that people can figure out what you’re trying to swim.
Applause lights
Most applause lights are much more blatant, and can be detected by a simple reversal test.
For example, suppose someone says: We need to balance the risks and opportunities of AI.
If you reverse this statement, you get: We shouldn’t balance the risks and opportunities of AI.Since the reversal sounds abnormal, the unreversed statement is probably normal, implying it does not convey new information. There are plenty of legitimate reasons for uttering a sentence that would be uninformative in isolation. “We need to balance the risks and opportunities of AI” can introduce a discussion topic; it can emphasize the importance of a specific proposal for balancing; it can criticize an unbalanced proposal. Linking to a normal assertion can convey new information to a bounded rationalist—the link itself may not be obvious. But if no specifics follow, the sentence is probably an applause light.
Reality just seems to go on crunching
I once met a fellow who thought that if you used General Relativity to compute a low-velocity problem, like an artillery shell, General Relativity would give you the wrong answer—not just a slow answer, but an experimentally wrong answer—because at low velocities, artillery shells are governed by Newtonian mechanics, not General Relativity. This is exactly how physics does not work. Reality just seems to go on crunching through General Relativity, even when it only makes a difference at the fourteenth decimal place, which a human would regard as a huge waste of computing power. Physics does it with brute force. No one has ever caught physics simplifying its calculations—or if someone did catch it, the Matrix Lords erased the memory afterward.
Mystery exists in the mind
Mystery exists in the mind, not in reality. If I am ignorant about a phenomenon, that is a fact about my state of mind, not a fact about the phenomenon itself. All the more so if it seems like no possible answer can exist: Confusion exists in the map, not in the territory. Unanswerable questions do not mark places where magic enters the universe. They mark places where your mind runs skew to reality.
Lost purposes
There’s chocolate at the supermarket, and you can get to the supermarket by driving, and driving requires that you be in the car, which means opening your car door, which needs keys. If you find there’s no chocolate at the supermarket, you won’t stand around opening and slamming your car door because the car door still needs opening. I rarely notice people losing track of plans they devised themselves.
It’s another matter when incentives must flow through large organizations—or worse, many different organizations and interest groups, some of them governmental. Then you see behaviors that would mark literal insanity, if they were born from a single mind. Someone gets paid every time they open a car door, because that’s what’s measurable; and this person doesn’t care whether the driver ever gets paid for arriving at the supermarket, let alone whether the buyer purchases the chocolate, or whether the eater is happy or starving.