Our Natural Environment

If there is a heaven, and I am allowed entrance, I will ask for no more than an endless living world to walk through and explore.

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.

Cherry blossoms are to be preferred not when they are at their fullest but afterward, when the air is thick with their falling petals and with the unavoidable reminder that they too have had their day and must rightly perish.

Immortality, in that it is considered at all, is to be found through nature's way. The form is kept though the contents evaporate.

1. Leaves Expanded May Be Prevailing Blue Mixed With Yellow Of The Sand
2. I Used To Wonder At The Halo Of Light Around My Shadow And Would Fancy Myself One Of The Elect
3. Fearing That They Would Be Light-headed For Want Of Food And Also Sleep
4. Stirring Them Up As The Keeper Of A Menagerie His Wild Beasts
5. The Finest Qualities Of Our Nature Like The Bloom On Fruits Can Be Preserved
6. Perhaps The Wildest Sound That Is Ever Heard Here Making The Woods Ring Far And Wide
7. I Love To Be Alone
8. A Young Forest Growing Up Under Your Meadows
9. Their Roots Reaching Quite Under The House
10. The Rays Which Stream Through The Shutter Will Be No Longer Remembered When The Shutter Is Wholly Removed
11. After Soaking Two Years And Then Lying High Six Months It Was Perfectly Sound Though Waterlogged Past Drying
12. The Sun Is But A Morning Star
13. A Low And Distant Sound Gradually Swelling And Increasing
14. As If It Would Have A Universal And Memorable Ending
15. A Sullen Rush And Roar

There is an affinity with certain planned “landscapes” of the natural world – namely, the classic Italian Baroque garden. In the sample plans the Schnelle brothers devised, the arrangement of desks seems utterly chaotic, totally unplanned – a mess, like a forest of refrigerator magnets. But, as with the seemingly “wild” overgrowth of a “natural” garden, the office landscape is more thoroughly planned than any symmetrical and orderly arrangement of desks. Imaginary lines wend their way around every cluster, delineating common pools of activity; between and through the undergrowth of clusters are invisible, sinuous paths of work flow.

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.

If we think that cyberspace is a public space, then let's think of the oceans. They used to be as much of a world resource as anybody could think of but didn't belong to anybody. So everybody put their garbage into them. The potential of cyberspace as a global dump is quite substantial.

Before attaining enlightenment,
mountains are mountains, rivers are rivers.

At the moment of enlightenment,
mountains are no longer mountains,
nor are rivers rivers.

After attaining enlightenment,
mountains are mountains, rivers are rivers.

The beauty of kasuri is received as a gift. As long as the laws of nature are upheld, the beauty of kasuri remains intact. This demonstrates the curious principle that the artisan is deprived of technical freedom but works in the freedom of nature.

In this sense, kasuri can be said to be created in a state of freedomless freedom.

Nature tells us the shape and pattern a material should assume, and nothing good can be achieved by ignoring its dictates. A good artisan seeks nothing that nature does not seek.

Forms which have a high degree of life tend to contain some type of interlock – a “hooking into” their surroundings – or an ambiguity between element and context, either case creating a zone belonging to both the form and to its surroundings, making it difficult to disentangle the two.

The interlock, or ambiguity, strengthens the centers on either side, which are intensified by the new center formed between the two.

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.

Imagine that our rooftops were parkland, that the area of ground occupied by buildings was, in effect, simply displaced upward. Imagine that the city enacted legislation requiring that the equivalent of 100 percent of the surface area of New York were to be green. A 100 percent requirement would not simply oblige green roofs. It would also demand that compensatory greenery be added to make up for such ungreenable areas as roadways, runways, and other unplantable places. Perhaps the requirement would be satisfied with road narrowings, cantilevered gardens, or green floors in buildings (utilities on the order of the mechanical floors that occur in almost all tall buildings).

Nature, sentimentalized and considered as the antithesis of cities, is apparently assumed to consist of grass, fresh air and little else, and this ludicrous disrespect results in the devastation of nature even formally and publicly preserved in the form of a pet.

One of the most pervasive features of these buildings is the fact that they are “modular.” They are full of identical concrete blocks, identical rooms, identical houses, identical apartments in identical apartment buildings. The idea that a building can - and ought - to be made of modular units is one of the most pervasive assumptions of twentieth-century architecture.

Nature is never modular. Nature is full of almost similar units (waves, raindrops, blades of grass) - but though the units of one kind are all alike in their broad structure, no two are ever alike in detail.

The same broad features keep recurring over and over again. And yet, in their detailed appearance these broad features are never twice the same.

I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.

It is when one forces principles on the world that one interferes with its natural workings.

This house exists in the midst of a year-long cycle of natural phenomena. One might say that this cycle entails the periodic "rise and fall" of the ground surface. In winter it sinks below a snow cover that grows head-high or more; as spring approaches, this height gradually decreases until we can see the actual ground surface, not yet covered with undergrowth. With summer the vegetation grows higher and higher until the plaza seems once again to be lower than its surroundings. With the falling of the leaves, autumn restores our ability to penetrate these surroundings at eye level, at least until the snow begins to fall again... Through the four seasons, we experience the sensation of the ground rising and falling, like the ebb and flow of the tide.

I call this cycle of natural phenomena an ecological cycle.

And at that very moment, we heard a loud whack!
From outside in the fields came a sickening smack
of an axe on a tree. Then we heard the tree fall.
The very last Truffula Tree of them all.

"What nature does with its colors is invariably—the palette of nature is twice as complicated, at least twice as sophisticated, as anything any artist can ever come up with. On a couple levels.

To start with, there are these amazing combinations of colors, filled with surprises and almost never wrong. I don't know how Nature ever conceived to put, say, those together. But, boy, are they right on the money!"

There is a pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is society where none intrudes,
By the deep Sea, and music in its roar:
I love not Man the less, but Nature more.

After a seven days’ march through woodland, the traveler directed toward Baucis cannot see the city and yet he has arrived. The slender stilts that rise from the ground at a great distance from one another and are lost above the clouds support the city. You climb them with ladders. On the ground the inhabitants rarely show themselves: having already everything they need up there, they prefer not to come down. Nothing of the city touches the earth except those long flamingo legs on which it rests and, when the days are sunny, a pierced, angular shadow that falls on the foliage.

There are three hypotheses about the inhabitants of Baucis: that they hate the earth; that they respect it so much they avoid all contact; that they love it as it was before they existed and with spyglasses and telescopes aimed downward they never tire of examining it, leaf by leaf, stone by stone, ant by ant, contemplating with fascination their own absence.

I believe that the petal of a flower or a tiny worm on the path says far more, contains far more than all the books in the library. One cannot say very much with mere letters and words. Sometimes I’ll be writing a Greek letter, a theta or an omega, and tilt my pen just the slightest bit; suddenly the letter has a tail and becomes a fish; in a second it evokes all the streams and rivers of the world, all that is cool and humid, Homer’s sea and the waters on which Saint Peter wandered.

And all the lives we ever lived and all the lives to be are full of trees and changing leaves.

We have been given a standard to use. It is there, handy daily: things as they are, or Nature itself. This makes good sense, the only sense really—Nature should be our model.

There is nothing merely ornate about nature: every branch, twig, or leaf counts.

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 character of nature can’t arise without the presence and the consciousness of death.

When we make our own attempt to create nature in the world around us, and succeed, we cannot escape the fact that we are going to die. This quality, when it is reached, in human things, is always sad; it makes us sad; and we can even say that any place where a man tries to make the quality, and be like nature, cannot be true, unless we can feel the slight presence of this haunting sadness there, because we know at the same time we enjoy it, that it is going to pass.

The personal experience of most of us will testify to this persistence of an illusory image long after its inadequacy is conceptually realized. We stare into the jungle and see only the sunlight on the green leaves, but a warning noise tells us that an animal is hidden there. The observer then learns to interpret the scene by singling out "give-away" clues and by reweighting previous signals. The camouflaged animal may now be picked up by the reflection of its eyes. Finally by repeated experience the entire pattern of perception is changed, and the observer need no longer consciously search for give-aways, or add new data to an old framework. They have achieved an image which will operate successfully in the new situation, seeming natural and right. Quite suddenly the hidden animal appears among the leaves, "as plain as day."

Some may find puzzling or distasteful the parallel I am drawing between the study of nature and the study of technology. After all, nature is good and good for you, whereas everyone knows that technology is ugly, evil, and dangerous.

A few centuries ago—say, on the American western frontier—a quite different view prevailed. Nature was seen as savage, hostile, cruel. Mountains and forests were barriers, not refuges. The lights of civilization were a comforting sight. We took our charter from the book of Genesis, which grants mankind dominion over the beasts, and felt it was both our entitlement and our duty to tame the wilderness, fell the trees, plow the land, and dam the rivers.

My chief aim is simply to describe and explain the technological fabric of society, not to judge whether it is good or bad, beautiful or ugly. And yet I would not argue that technology is neutral or value-free. Quite the contrary: I suggest that the signs of human presence are the only elements of the landscape that have and moral or aesthetic significance at all. In nature undisturbed, a desert is not better or worse than a forest or a swamp; there is simply no scale on which to rank such things unless it is a human scale of utility or beauty. Only when people intervene in nature is there any question of right or wrong, better or worse.

The real world of technology denies the existence and the reality of nature. For instance, there is little sense of season as one walks through a North American or western European supermarket.

Just as there is a little sense of season, there is little sense of climate. Everything possible is done to equalize the ambiance – to construct and environment that is warm in the winter, cool in the summer.

"Kant described a mechanism as a functional unity, in which the parts exist for one another in the performance of a particular function.

An organism, on the other hand, is a functional and structural unity in which the parts exist for and by means of one another in the expression of a particular nature.

This means that the parts of an organism – leaves, roots, flowers, limbs, eyes, heart, brain – are not made independently and then assembled, as in a machine, but arise as a result of interactions within the developing organism."

— Brian Goodwin, How the Leopard Changed His Spots

System A is concerned with the well-being of the land, its integrity, the well-being of the people and plants and animals who inhabit the land. This has very much to do with the integral nature of plants, animals, and water resources, and with the tailoring of each part of every part to its immediate context, with the result that the larger wholes, also, become harmonious and integral in their nature.