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. Bill Mollison, Introduction to Permaculture principles
Software developers have stopped caring about reliability An Article by Drew DeVault drewdevault.com Of all the principles of software engineering which has fallen by the wayside in the modern “move fast and break things” mentality of assholes modern software developers, reliability is perhaps the most neglected, along with its cousin, robustness. Almost all software that users encounter in $CURRENTYEAR is straight-up broken, and often badly. softwareprinciples
To absorb it or build your own Robert Smithson and other so-called land artists simply disengaged from architecture, placing their works in America's open landscape, leaving behind the museums and galleries Smithson referred to as "tombs". A new "expanded field" allowed artists to contextualize their work beyond the institutional frame of the museum or the commercial structure of a gallery. Richard Serra, who also began to move outdoors, at times chose to "attack" architecture, creating structures that disrupted or overwhelmed the buildings around them. The artists of the Light and Space movement took another tack. Rather than fight or flee the architecture, they explored and manipulated it, approaching architecture as a kind of found object, creating a series of rooms that incorporated architecture and architectural structures directly into their art. Bruce Nauman summarized it well: "When you work in a gallery or museum, the architecture is a given. If you wanted to have a show, you didn't have a choice, except to deal with it. You had to find a way to either absorb architecture into the piece of build your own." Michael Auping, Stealth Architecture: The Rooms of Light and Space Conditional art architecture