An endless living world 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. Michael R. Canfield, Field Notes on Science and Nature learningnaturereligionwalking
To find God in the seminary If he were to tire of the Andalusian fields, he could sell his sheep and go to sea. By the time he had had enough of the sea, he would already have known other cities, other women, and other chances to be happy. I couldn't have found God in the seminary, he thought, as he looked at the sunrise. Paulo Coelho, The Alchemist religion
As a kind of gateway Historically, Japan's shrines have been built in order to worship the gods who live in the sacred mountains or seas; They don't reside in the shrine itself, but in the space beyond it. This belief that the spirits and deities exist beyond the confines of the shrine, and that the shrine itself acts not as a centre, but as a kind of gateway, is very different to the grand, imposing churches and cathedrals of Christianity. The majority of shrines are not found in the mountains or in the middle of the fields, therefore, but at the borders of mountain villages – which is to say, at what is seen as the edge of the mountains. The tori gate, marking the entrance to a shrine, indicates that there are gods on the other side of it. Kengo Kuma, My Life as an Architect in Tokyo An edge is an interfacePaths, edges, districts, nodes, landmarks religionedges
The neon god they made And the people bowed and prayed To the neon god they made Paul Simon & Art Garfunkel, The Sound Of Silence religionenergy
Everybody worships Because here’s something else that’s weird but true: in the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And the compelling reason for maybe choosing some sort of god or spiritual-type thing to worship–be it JC or Allah, be it YHWH or the Wiccan Mother Goddess, or the Four Noble Truths, or some inviolable set of ethical principles–is that pretty much anything else you worship will eat you alive. If you worship money and things, if they are where you tap real meaning in life, then you will never have enough, never feel you have enough. It’s the truth. Worship your body and beauty and sexual allure and you will always feel ugly. And when time and age start showing, you will die a million deaths before they finally grieve you. David Foster Wallace, This is Water City messages religion
Dwelling in ritual Even a dwelling is a device that generates a distinct pattern of daily activities and their relationships. Some buildings are explicitly built for ritual, but the repetition of any activity, either mundane or religious, tends to ritualize them, and by facilitating this, an architectural structure can turn gradually – sometimes even unnoticeably – into an instrument of ritual. Robert McCarter & Juhani Pallasmaa, Understanding Architecture White cloth ritualpatternsreligion
Who walks beside you? Who is the third who walks always beside you? When I count, there are only you and I together But when I look ahead up the white road There is always another T.S. Eliot, The Waste Land religionwalking
Immer wieder My attitude toward Alexander’s teachings prior to experiencing the places and spaces realized in his practice was akin to what Alan Watts said about certain teachings in The Bible: Sometimes, as St. Paul pointed out, commandments are not given in the expectation that they will be obeyed, but in the expectation that they will reveal something to those who hear them. Today, my answer is unequivocal. My interpretive lens: literal. Time and again, across cultures and continents and islands and oceans, in five different places now I’ve examined the evidence, and am persuaded. Nicht nur einmal: immer wieder. Dan Klyn, Einmal Ist Keinmal blog.usejournal.com religionteaching
The Mind of the Maker A Book by Dorothy Sayers en.wikipedia.org Looking at man, [the author of Genesis] sees in him something essentially divine, but when we turn back to see what he says about the original upon which the “image” of God was modelled, we find only the single assertion, “God created”. The characteristic common to God and man is apparently that: the desire and the ability to make things. Only in terms of other thingsI mix it with two in my thoughtTowards a synthesis of experienceAnd these three are one"The right phrase"+28 More religion
Narcissus and Goldmund A Novel by Herman Hesse www.goodreads.com DualityFear of deathPain and joySuddenly the letter has a tailAll that is beautiful and lovely My own beauty reflected religionlovelife
the speed of God An Article by Alan Jacobs blog.ayjay.org [Andy Crouch] quotes the Japanese theologian Kosuke Koyama saying that “the speed of God” is three miles an hour because that was the speed at which Jesus moved through his world. So maybe, and I think this is one of the chief burdens of Andy’s book, what makes the most sense for us is to try whenever possible to move at the speed of God – and in that way refuse the offer of superpowers. Of course, this dovetails with a lot of things people have been writing lately about slowness, but what I like about Andy’s book is that it specifies why we can find ourselves responding so warmly to the possibility of slowness. What happens when we seek superpowers, and especially super-speed, is the sacrifice of what I want to call our proper powers – the powers through the exercise of which we (heart-soul-mind-strength) flourish in love. The brain is wider than the sky religionloveeuphonyslowness
Winning by Design: The Methods of Gordon Murray A Research Paper by Nigel Cross & Anita Clayburn Cross A case study of the working methods of one particularly successful designer in a highly competitive design domain - Formula One racing car design. Gordon Murray was chief designer for the very successful Brabham and McLaren racing car teams in the 1970s and 1980s. His record of success is characterised by innovative breakthroughs, often arising as sudden illuminations, based on considering the task from first principles and from a systemic viewpoint. His working methods are highly personal, and include intensive use of drawings. Personality factors and team management abilities also appear to be relevant. There are some evident similarities with some other successful, innovative designers You need to make the step forwardDrawing the bitsLike designing things for the first timeWonder PlotsI never have engineers that aren't designers+7 More design
You need to make the step forward Throughout a racing season there is constant, relentless pressure on the designer to keep making design improvements. But there is a limit to what can be achieved with any car design, before a jump has to be made to basically a new design, an innovation. As Gordon Murray says, ‘Given the situation and the pressure at any one time, you do get to the brick wall...I mean you're doing all these normal modifications, you know you can't go any quicker, you need to make the step forward.’ In the midst of the pressure, the fervour, the panic, he ‘used to get breakthroughs, I mean I used to get like suddenly a mental block's lifted.’ Gordon Murray The Structure of Scientific RevolutionsMediocratopia progress
Drawing the bits That's what is great about race car design, because even though you've had the big idea - the “light bulb” thing, which is fun - the real fun is actually taking these individual things, that nobody's every done before, and in no time at all try and think of a way of designing them. And not only think of a way of doing them, but drawing the bits, having them made and testing them. Gordon Murray
Like designing things for the first time Gordon Murray insists on keeping experience 'at the back of your mind, not the front' and to work from first principles when designing. For instance, in designing a component such as a suspension wishbone, 'it's all too easy - and the longer you're in design the easier it is - to say, I know all about wishbones, this is how it's going to look because that's what wishbones look like.' But if you want to make a step forward, if you're looking for ways of making it much better and much lighter, than you have to go right back to load path analysis. It is like designing things for the first time, rather than the nth time. The eyes of a travelerZen Mind, Beginner's MindTotal collaboration experience
Wonder Plots Working from first principles, and working in a highly organized way seem to come naturally to him, but his personal design process is much less structured than the results might suggest. Although he can tightly organize his team and run a complex racing organisation, his personal ways of designing are relatively unstructured, based on annotated, thumb-nail sketches. ‘I don't sit down and say, OK, now I've had the idea, let's see, this is a solution, these are the different ways to go, if I do this, and do that; I do lots of scribbles just to save it, before I forget.’ Gordon’s design process is based on starting with a quick sketch of a whole idea, which is then developed through many different refinements. ‘I do a quick sketch of the whole idea, and then if there's one bit that looks good, instead of rubbing other bits out, I'd put that bit to one side; I'd do it again and expand on the good bit, and drop out the bad bit, and keep doing it, doing it; and end up with all these sketches, and eventually you end up throwing ninety percent of these away.’ He also talks to himself - or rather, writes notes to himself on the sketches; notes such as ‘rubbish’, ‘too heavy’ or ‘move it this way 30mm.’ Eventually he gets to the stage of more formal, orthographic drawings, but still drawing annotated plans, elevations and sections all together, ‘Until at the end of the day the guys at Brabham used to call them “Wonder Plots”, because they used to say “It's a wonder anybody could see what was on them”!’ The Design Squiggle
I never have engineers that aren't designers Although Gordon Murray carried immense personal responsibility for the design work of his racing cars, inevitably it involved a lot of teamwork. Clearly he has been successful in inspiring others to work with him. He likes to involve team members in the design problems, and for that reason prefers to recruit all-rounders to his team; ‘I never have engineers that aren't designers.’ Designing with code
The problem with CAD He also likes to work collectively, standing around a drawing board discussing problems and trying ideas. For this kind of teamwork, and especially for conceptual design work, he finds computer aided design systems too restrictive. For the McLaren F1 super-car, he installed a five-metre long drawing board in the design office, so that the car could be drawn full size. ‘The problem with CAD for this sort of stuff is that you can never have a full-size drawing, unless you do a print, and by the time you do a print it's out of date in the concept stage.’ He also does not like the one-person emphasis of CAD screens; ‘You can only ever talk to one person at once - you stand behind and look over somebody's shoulder, which is not very good for a boss-designer relationship anyway, to have somebody standing behind you is never a good thing. To look over somebody's shoulder at a tiny little screen, it's just wrong, it's totally wrong.’ (On the other hand, he fully acknowledges that tasks like a complex suspension plot to determine the wheel envelope are ideal for CAD.) collaboration
Drawing as a means of thinking Two-dimensional plans or sections can be seen with sketches and more diagrammatic marks all on the same piece of paper in what appears a confusing jumble.’ These sound like Gordon’s ‘wonder plots’. The architects also use their drawings as a means of thinking ‘aloud’, or ‘talking to themselves’, as Gordon put it. For example, Lawson reports the architect Richard MacCormac as saying, ‘I use drawing as a process of criticism and discovery’; and the engineer-architect Santiago Calatrava as saying, ‘To start with you see the thing in your mind and it doesn’t exist on paper and then you start making simple sketches and organizing things and then you start doing layer after layer.... it is very much a dialogue.’ The common elements in these similar descriptions are the use of drawing not only as a means of externalising cognitive images but also of actively ‘thinking by drawing’, and of responding, layer after layer and view after view, to the design as it emerges in the drawings. These observations also confirm Schön’s observation of designing as a ‘reflective conversation’ between the designer and the emerging design. It is the reliance on drawing, and the preference for the immediacy of the interaction and feedback that manual drawing gives, that makes the architects, like Gordon Murray, unenthusiastic about CAD as a conceptual design tool. Section-perspective drawingThe situation talks backWhen we make a model and realize it's rubbish drawing
A new gestalt The innovator has a systems mind, one that sees things in terms of how they relate to each other in producing a result, a new gestalt that to some degree changes the world. Michael Maccoby innovationsystems
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. creativity
Strategic, not tactical The working methods of the innovative designer are, for the most part, not systematic; there is little or no evidence of the use of systematic methods of creative thinking, for example. The innovative designer seems to be too involved with the urgent necessity of problem solving to want, or to need, to stand back and consider their working methods. Their design approach is strategic, not tactical. strategy
Drawing for parallel design thinking An important feature of their strategy is parallel working - keeping design activity going at many levels simultaneously. The best cognitive aid for supporting and maintaining parallel design thinking is drawing. Drawing with the conventional tools of paper and pencil gives the flexibility to shift levels of detail instantaneously; allows partial, different views at different levels of detail to be developed side by side, or above and below and overlapping; keeps records of previous views, ideas and notes that can be accessed relatively quickly and inserted into the current frame of reference; permits and encourages the simultaneous, non-hierarchical participation of co-workers, using a common representation. The drawing of partial solutions or representations also aids the designer’s thinking processes, and provides some ‘talk-back’. As well as drawing, innovative designers frequently like to undertake practical work related to the design solution, such as building models or mock-ups, or participating in construction. Back to the Drawing Board drawing
A small team of committed coworkers The innovative designer also likes, perhaps needs, to work with a small team of committed co-workers who share the same passions and dedication. On Talent teamwork