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Man Between Earth and Sky: A Symbolic Awareness of Architecture Through a Process of Creativity, by Louis O. Roberts. The publisher is Octavio Publishing in Carmel, California. The book is dedicated to: The Future of the Human Continuum.
At its highest level, architecture is the pursuit of poetic form. As in literary poetry it employs images and symbols to achieve its essence. These are the common language of the psyche that transcends the purely physical.
Architecture is important in the life of every human being and is used here as the vehicle to demonstrate how creativity unfolds. Observing how the creative process works for one person in tangible terms can make it easier for another to understand. The broad aim of this book is to inspire people of all ages to be creative.
Content
As part of the table of contents there is a Reference Code indicating the three Book Layers: Architectural Vision, Creative Process and Balanced World. The book has three sections: The Idea ¡V the spark that ignites that which is within, The Evolution ¡V seeking a balance of forces in search of essence, The Reality ¡V forms and expressions made whole. In these three sections the experiential process of being creative is fully explored, from early influences, through the evolutionary development of ideas and forms and, finally, to the reality of multiple expressions. We are made aware of how the unconscious mind is our most essential creative tool.
Introduction
Architecture, Creativity and a Balanced World are the major themes explored in this book, each layered one upon the other to make a whole. This exploration began in the form of a personal notebook, evolving and expanding over time to include not only a vision of architecture, but also the creative process of making this or any vision a reality. The philosophical and physical ramifications of this architectural approach, utilizing the self-fulfilling aspects of the creative process, contribute to balancing human activity with the natural environment.
When we are not in nature, our primordial home, we are in architecture. Architecture,
as I envision it, is a restatement of nature ¡V of the earth and the sky. Symbolic imagery
is the language of this vision, and as such, the architecture has a universal appeal
originating from visual codes accumulated over eons of time in the human psyche. The
symbolic puts us back in touch with our primordial roots. This is an architecture of
belonging ¡V to the earth, to the place, to the human spirit.
Architecture affects both our external and internal life more than any other man-made
entity. It is with us and surrounds us for most of our existence. Architecture is the
stage set for our life and can, when created on a poetic level, embody a spirit of
comfort, peace, security or exhilaration depending on the type and use of the structure.
Buildings can be designed to create various atmospheres that influence us in profound
ways ¡V from the interior of a Craftsman Style house to the view across the harbor of the
Sydney Opera House, to the experience of walking the exterior wall of the Guggenheim
Museum in Bilbao, Spain.
¡§Architecture is an art for all men to learn because all are concerned with it.¡¨ John Ruskin, 19th century architectural philosopher / critic.
We not only live with architecture, but create it, adding to the overall fabric of our
environment. For this reason alone, it would be advantageous to know as much about
architecture as possible.
Aside from its place in our everyday life, architecture is a major art form, and has
been referred to as ¡§the mother of the arts.¡¨ As such, certain important artistic issues are covered in this book, the core of which, deals with creativity, and in turn form, aesthetics and vision. They are all interconnected. Form is an expression of content. Form evolves out of the forces acting on it from within and from without ¡V to be what it wants to be, guided by the artist¡¦s vision and skilled hand. An essential part of content is the person doing the creating ¡V the whole person affects the architecture ¡V his unique way of seeing the world together with his core beliefs. The form derived from content and the artist¡¦s view of reality invariably expresses itself as our perception of physical and psychological beauty. This is the aesthetic factor ¡V that which fulfills and uplifts our spirit ¡V the ultimate goal.
The essence of creativity is vision. Vision is an extension of one¡¦s uniqueness. This is
one of the most important messages in the following pages. The three part structure of
this book, Idea, Evolution, Reality, is based on vision:
The Idea behind the vision
The Evolution of the vision
The Reality of the vision
Vision is what each person contributes to the world. This was aptly stated by Carl Jung,
¡§The only thing you contribute in this world is your uniqueness or individuality ¡V all the
rest is rehashed information.¡¨
As my vision became more clearly defined, I began to see its manifestations almost
everywhere; in nature, in found objects, in ancient man-made structures and monuments. These images / things I recorded over time in the form of notes, drawings, models and photographs. With the finding and documenting of each one came an excitement that pulled me into the realm of total absorption. I was discovering treasure ¡V treasure of my own creation.
When reading this book, one can extract me and extract architecture and in their place
inject himself and anything creative he wants to do. The creative process in general is
the same ¡V but specifically different because we are each unique. One must explore the
depths of his own psyche to find his direction.
In writing about art, architecture, and creativity, I prefer to leave things flexible and
open to any possibility. Creativity is not a science. There are no prescribed methods
that will take us step-by-step through the process, as there are with math and physics.
Because of that, this book has some ambiguity intrinsic to the nature of the subject.
Being comfortable with ambiguity is an essential part of creativity.
I have attempted to include as many tangibles as possible, allowing the reader to begin
exercising his or her creative capabilities. Everyone has the potential to tap into his
genius ¡V his spirit ¡V to utilize the natural talents and abilities inherent in each of us. It is
not important where one starts, but how far one goes in the pursuit.
Some of the major issues related to the subject of art are addressed in the book. Things such as: What is the purpose of art? How does one judge art (p. 42)? What is abstract art (p. 253)? What is a artistic / creative vision (p.10, 64-69)? What is the source of that vision? How do you develop and evolve that vision? How do you express that vision? What is the philosophy behind that vision (p.76-87)? What are the mental and physical tools needed? What are the major considerations in the creative process (p.201-204)? How do all the elements come together to achieve wholeness (p. 94-95)?
Origin - The birth and evolution of an idea (p. 18)
In each of us, who we are and what we can do starts with our first moment of
being / Driven by a web of ancestral forces brought to bear / Abilities, talents, traits
and sensitivities / Select genes from parents, grandparents, and a host of great grandparents / All in place before we pass into the experiential world
How and what we perceive and retain in this world depends on our unique hereditary
characteristics. The experiential world is our cognitive or conscious life, for each person
a unique combination of influences ¡V People, Places, Events, and Images. We all begin
with a tabula rasa, a conscious mind that is clean and ready for absorption.
People along life¡¦s journey, those glowing individuals who stand out as bright pillars
¡V parents, relatives, and mentors ¡V stay with us always. They tap us on the shoulder to
point the way, turning us a few degrees to course.
Places that are evocative, from natural environments to significant human constructs
¡V each with its own distinctive spirit, its genius loci, embrace us and give us an intimate
sense of belonging.
Events clearly lodged in our memories, each has its respective influence on our path.
Some are positive, pleasurable experiences which contribute to our evolution, while
others are negative, providing developmental lessons to balance reality.
Images retained from life, both conscious and subliminal, become the language of
one¡¦s future ¡V a coded intuitive mechanism that triggers our response to what we
experience and is a key to our direction, calling, or destiny.
To illustrate these hereditary and experiential influences on a personal level, I recall
numerous sources from my childhood that remain vivid and still stir excitement in me
¡V things such as caves, arrowheads, ruins and the natural environment. My mother
introduced us to the wonders of nature, taking my brother and me on walks in the
Connecticut woods, pointing out plants and animals, telling us that flowers were
¡§temples of God.¡¨
When one reflects deeply on his own experiences in the world, the origin of influences
and events rises to the surface. The three most prominent recurring childhood images for me are:
An Ancient Dolmen (p. 19)
About once or twice a year during my early childhood our family would go for a Sunday
drive and solemnly arrive at a giant stone dolmen. This monument was located in the small village of North Salem, New York. My father would get out of the car and slowly walk up to within 25 feet of the stone and stand there in a reverent manner with his hands clasped in front of him ¡V as if he were in church. To a child this stone was enormous in scale, and very impressive. Taking my father¡¦s lead, I stood there quietly and observed it with keen interest. The formation consists of one huge stone sitting on top of smaller point stones so that it appears to be floating above the ground. As I look back now, it was an earth-sky image with a tension or energy between the ground and the stone. Some sources have referred to it as the largest dolmen in North America with a cap-stone weighing approximately 90 tons. My father¡¦s connection to this monument goes back to his own childhood. He was born in Connecticut about four miles from its location; I can imagine his parents visiting there Sundays, driving a horse and buggy.
Awareness - Made evident with the realization of the past
The awareness of an idea is not the beginning; in reality one is well beyond the beginning. The cocoon lies dormant, ready to be awakened. The answers to your life are in you, to paraphrase Rainer M. Rilke from Letters to a Young Poet. This has to do with one¡¦s perception of life / reality. To see what everyone else sees, but to think what no one else thinks is a concept that embodies one of the most important principles for achieving creative expression ¡V your unique vision
.
The key elements that triggered a realization of my direction / vision occurred by chance
in my fifth year of architecture school:
I came across a book titled Architecture Without Architects by Bernard Rudofsky. What
most intrigued me was that many of the buildings depicted had a strong connection
to the earth; they looked as if they were a part of it or grew from it. They embodied the
spirit of the place. That imagery stirred me deeply, bringing up childhood memories
of walls, ruins, caves and dolmens. I began to realize that most of my early college
designs were earth-connected.
A short time afterward, while in the college library, I happened to read an Italian architectural magazine titled Zodiac 14, containing an article by Segfried Giedion about Jorn Utzon, the Danish architect. This article later became part of Giedion¡¦s book, Space, Time and Architecture. Utzon¡¦s architectural vision and philosophy were summarized as having a ground plane or raised platform with a roof element floating above ¡V as exemplified by the Sydney Opera House and others.
Philosophy - Life with purpose has meaning
Purpose is at the heart of our existence. It is the self in us that wants to be realized.
Purpose in life requires engaging our uniqueness. We commit to a continual process
of interior exploration rather than to arrive at a finite answer. With this pursuit we move
deeper into our essential self.
This idea of purpose may seem far afield from architecture, but it could not be more
relevant. Purpose is the core reason to pursue anything, something we feel we must
do, compelled by an inner drive. In my life, this force is architecture, which allows me to
be creative on many levels
.
We continually explore the parameters of our essence, moving closer and closer to
our center. Finding direction and purpose is an internal process, not a random search
in the external world. This search has many names: calling, path, destiny. If we focus
our awareness, the clues lie within. It is a matter of asking ourselves the appropriate
questions and having faith in our intuition.
There are no definitive answers regarding what constitutes purpose and meaning in life.
In fact, there are multiple purposes related to the various aspects of one¡¦s life, ranging
from the personal, the interpersonal, the environmental, and on to the cosmic, rippling
in ever widening circles from the self to the universe.
Two psychologists / philosophers who offer intriguing answers, although with different
perspectives, are Viktor Frankl and Abraham Maslow. Frankl emphasizes self-transcendence, moving beyond the self by committing to one¡¦s unique task as it relates to his life and circumstances. Maslow advocates self-actualization by bringing forth the self in creative acts, which in turn leads to self-transcendence. These two thinkers are similar in their views; in the end, it is a matter for each individual to find his own philosophical direction.
Each person must seek his unique purpose, which can be anything, depending on
what freedoms, opportunities and limitations his life affords. If a man finds himself in
restrictive circumstances, such as a prison camp or war, as Frankl experienced, he can
still have purpose. It may be as basic as to stay alive, to merely survive for the ones he
loves and who love him; or it may be to fulfill a personal goal in the future, perhaps one
of creativity and self realization. Even during the passive or respite periods of our lives,
our purpose can be to enjoy nature, beauty, art and music.
Purpose carries us through all the various aspects of life. It becomes the central core
of our being, not to be deterred or distracted by the highs of joy, excitement and
happiness or by the lows of pain, suffering and disappointment.
Meaning in life has to do with fulfillment in our endeavors. It is what feels intuitively
right ¡V to be on course with our inner self. This can be achieved with love, passion, and
commitment to a chosen purpose.
A person need have only one good idea to pursue for a lifetime, an idea that comes
from within. It can be simple or sophisticated. Watts Towers is a case in point, a man
with a simple idea and intense purpose.
Renowned Austrian sculptor and artist Walter Pichler said, I have been exploring one idea my whole life
Life presents us with many challenges; in meeting them, attitude is everything. We
must be positive and optimize the circumstances of each situation. Having a positive
attitude does not imply that life does not have hardships and suffering, but rather,
hardships and suffering are essential components for making the life experience
complete.
One can have everything and have nothing
One can have nothing and have everything
Wholeness - Recognizing the interconnectedness of all things
In its simplest terms, wholeness can be defined as a balanced system, or put more
poetically, harmonious equilibrium, where the parts, entities, elements and components
relate to one another and the whole in a supportive and reinforcing manner
All living things are interwoven each with the other; the tie is sacred, and nothing, or next to nothing, is alien to aught else. Marcus Aurelius, Meditations, 167-180 A.D.
The system can be anything from:
A molecule A building
A plant A city
A human body A natural environment
A car To the universe
Each entity is part of a larger system, and made up of smaller systems, microcosms,
complete and capable of functioning as a unit.
Wholeness exists on all levels and on all scales. This is most evident in nature which
embodies wholeness in a highly evolved form. The flower is whole in itself, yet is part of
the meadow, which is part of the landscape, which is part of the ecosystem and so on to the solar system and beyond.
This leads one to the idea of the interconnectedness of all things and how they influence
and relate to one another. I find, when designing architecture, I am always looking for
connections from one system or realm to another, even when there is no apparent
similarity. In many cases, ideas and/or principles can be cross-pollinated to have a
significant influence on the final outcome.
There are other levels of interconnectedness to be aware of on multiple scales. By adding or subtracting something from a field the whole field changes. Visually, this is evident in the composition of elements and the spaces between them when one is striving for symmetrical or asymmetrical equilibrium ¡V wholeness. This field concept can apply to anything at any level, in the case of architecture, from the concept to the particulars, the execution and finally, to the finished product.
The nature of wholeness is such that we strive for the ideal. Since we can never
achieve absolute perfection, the objective is to come as close as possible.
A dictionary defines wholeness as: ¡§perfect ¡V perfect implies the soundness and the
excellence of every part, element, or quality of a thing ¡V frequently as an unattainable or
theoretical state. Whole suggests a completeness or perfection of a thing in its entirety
. . . that nothing has been omitted or left out, everything has been considered.¡¨ When creating or designing, one works from the inside out and from the outside in concurrently (as further covered on pp. 201-204). This process is related to wholeness, where the objective is to balance the inner and outer forces at work on a system. This principle of harmonious equilibrium applies to anything one creates ¡V whether art, music, architecture, or a mechanical device.
There is a tipping point, where, if the system is sufficiently lacking wholeness, it will
break down. This occurs when the parts are working against one another, as with an
engine that is overheated and seizes, or an ecosystem that is polluted beyond recovery,
or a human body that has consumed unhealthy foods leading to illness and death. This
can happen visually, functionally, technically or physically, on any level or combination of levels. One could conclude that if enough of the universe were out of balance, it would
disintegrate.
In architecture, wholeness embodies all of the elements under consideration:
Vision Site
Concept Orientation
Form Climate
Function Materials
Construction Context
Budget Natural environment
Achieving wholeness in creativity involves striving for the essential character or constitution of a thing, in the case of architecture, to establish its spirit ¡V to balance all
the variables. It is important at the beginning of any creative endeavor to have in mind
the concept of the whole as the key consideration in all that follows.
We are aware of and aim for wholeness so as to optimize our life and the world we
inhabit.
Indigenous architecture
This book includes the following images of indigenous architecture from around the world:

Giza Pyramids, Egypt.

Stonehenge, England.

Cappadocia, Turkey.

Machu Picchu, Peru.

Simon Petra Monastery, Mont Athos, Greece.

St. Loca, Amalfi Peninsula, Italy.

Sumela Monastery, Turkey.

Trulli House, Alberobello, Italy.

Villages, Bani Murra, Yemen.

Bamburgh Castle, England.

Celtic dolmen, Pentre Ifan, Pembroke, England.

Tuzigoot Indian Ruins, Verde Valley, Arizona.

Taktshang Monastery, Bhutan.

Dolmen entry, Bryn-Celli-Ddu, Anglesey, England.

Megalith, Champ-Dolent, England.

Watts Towers, Los Angeles, California.

Spanish Aqueduct, Los Remedios, Mexico.

Mont Saint Michel, France.

The Dzong Monastery, Punakha, Bhutan.

Mestia village, Caucasus, Russia.

Cemetery, Sinkiang, China.

Viking fortress, Carn Liath Broch, Scotland.

Silbury Hill, Wiltshire, England.

Viking village, Skara Brae, Orkney Island, Scotland.

Broch of Gurness, England.

Himalayan grain structures, Bhutan.

Byzantine church, Ani, Turkey.

Fishing Structures, Pescara, Italy.

Indian Dwellings, Mesa Verde, Colorado.

Island of Saint Michael, Cornwall, England.

Dechenlabrang Monastery, Dolpo, Nepal.

Trulli house, Alberobello, Italy.

Thatched roof farm house, Hungary.

Himalayan house, Bhutan.

Corfe Castle, Wareham, Dorset, England.

Tantallon Castle, North Berwick, Scotland.

Chaco Canyon, New Mexoco.

Mud Building, Abha, Saudi Arabia.

Docheiariou Monastery, Mont Athos, Greece.

Al-Hajra village, Yemen.
Contemporary Architecture

Sydney Opera House (Utzon), Sydney, Australia.

Exhibition Building (Nervi), Turin, Italy.

Milwaukee Art Museum (Calatrava), Milwaukee, WI.

Walker House (Wright), Carmel, CA.

Sturges House (Wright), Los Angeles, CA.

Bacardi Office Building (Mies), Mexico City, Mexico.

Seagram Building (Mies), New York, NY.

Experience Music Project (Gehry), Seattle, WA

Guggenheim Museum (Gehry), Bilbao, Spain.

Falling Water (Wright), Bear Run, PA.

James House (Greene),Carmel Highlands, CA.

Notre-Dame-du-Haut (Corbusier), Ronchamp, France.

Unitarian Church (Lundy), E. Hartford, CT.

Geils Residence (Roberts), Greenwich, CT.

Roberts House (Roberts), Roxbury, CT.

Robi House (Wright), Chicago, IL.

Dulles Airport (Saarinen), Chantilly, VA.

Shiraz Art Museum (Aalto), Shiraz, Iran.

Pirelli Building (Ponti), Milan, Italy.

Hawk Hill House (Roberts), Carmel, CA.
Index
Visual images in black.
Book titles in italic.
A
Aalto, Alvar 182, 204
Finlandia Hall, Helsinki 204
Seinajoki Library, Finland 204
Shiraz Art Museum 182
Abbagnano, Nicola 81, 85
abilities, talents, traits and
sensitivities 18
abstract art 186, 253
abstract thoughts and images 17, 201
acorn theory 28
actualization 88, 94
faith . intuition . commitment 88
wholeness 94
aesthetic
creation 38
factor 10
identity 27
judgments 69
principles 198, 200
aesthetics and vision 9, 203
aesthetic vision notebook 69
Age of Reason 78
Agnoli, Val - architect 188
A God Within 28, 34, 40, 49, 58, 62
Al-Hajra Village, Yemen 191
Amalfi Peninsula 49
ambiguity 10, 190
analyzing the system 34
ancestral forces 18
ancestral past 58, 76
Ani, Turkey 128
archetypal images 63, 175
architectural expression 14, 70
early human habitats 120¡V127
forms in nature 110¡V119
indigenous 128¡V131
architectural
magnitude 74
vision 6
theorists 170
Bachelard, Gaston 179
Christ-Janer, Victor 179
Frampton, Kenneth 175
Giedion, Sigfried 172
Heidegger, Martin 178
Norberg-Schulz, Christian 174
Utzon, Jorn 170
architecture 9, 12, 34, 38, 40, 41, 65,
70, 80, 188
considerations 95
contemporary 132
expressions 206¡V220
earth and sky 224¡V236
earth - sky implied 216¡V220
horizon, on the 52
inspired by
ancient man-made forms 210
natural forms 206¡V209
integration 74
past / future 38
poetic 189
purposeful and reflective 38
restatement of nature 70
vision 9, 10
Architecture and Body, ¡§Intimations
of Tactility¡¨ 44, 75, 175
Architecture Without Architects
24¡V25, 184
arrowheads 18, 31
art 38¡V39, 66
art critic 38
art forms 38
artist 43
atmosphere 42
attitude 81, 82, 201, 204
Aurelius, Marcus - Meditations 94
awareness 27
self 76
of an idea 24
axis mundi 52, 74, 174
B
Bachelard, Gaston 44, 75, 179
Badlands of Alberta, Canada 207
Baker, Ray Stannard 81. See
also Grayson, David
balance 34, 71, 242
ecological 74
point 34
balanced
environment 8
organism 34
world 6, 9
Bamburgh Castle, England 51
Barrett, William 85, 87
battered walls 73
belief and creative art 38
Bennett, Garry Knox 39
Benson, Richard 198
Bernhard, Ruth 68
between earth and sky 44, 57
Bhutan
Bhutan House 183, 185
Dzong, Punakha 73
birth and evolution of an idea 18
Blake, William 201
book layers 6
Bosco, Henri 44, 75, 179
boundaries 175
Bourdon, David ( on Christo) 67
brain, studies of the 38
Bresson, Cartier 68
building construction system 232
built form 188
burial mound 59
Burton, Joseph A. 189
C
¡§character ethic¡¨ 34
Calatrava, Santiago - architect 41
Camus, Albert 84
capitalism 34
Cappadocia, Turkey 35, 48,
120¡V121, 183
capturing the period 204
Caucasian mountains, Russia 89
cave 18
entry 59, 203
sky connected 172, 180
Celtic burial mound and megalith 59
Celtic dolmen, Pentre Ifan, England
53
central idea 44
Chaco Canyon, New Mexico 187
character, integrity, and honesty 78
characteristics of each individual 28
childhood 18
experiences 27
future relevance 60
influences 204
memories 24
seeds planted 28
childhood images 19
ancient dolmen 19
lean-to construction 20
stone walls 20
Chinese character 57
Christ-Janer, Victor 48, 58
constituent imagery 179
Christo 67
Pont Neuf, Paris 67
Reichstag, Berlin 67
Churchill, Winston 41
Clovis Point arrowhead 31
clues to our direction 28
Coastal Cliff house 216
cocoon 24, 68
collective images 63
college 21
architectural designs 24¡V25,
Communication Center 104
Golf Club 98¡V99
Island Cultural Institute 100¡V101
Railroad Terminal 102¡V103
library 26
notebook 12
colors and materials 242
commitment 89, 199, 258
concentration 199
accidental / spontaneous 199
structured 199
concept 201¡V203
multi layered 242
sketches 140, 202¡V203
Concept of Dwelling, The 74, 174
conclusion, book 256¡V257
Confessions 30
confidence 190, 197
Connecticut woods 18
connection to the earth 24
consciousness 62, 76
conscious realm 22
contemplation, controlled 199
continuum 30, 33, 40, 42
contribution 30¡V31, 188
controlled guidance 190
conventional architecture 70
conversation and storytelling 62
cooking 197
Corfe Castle, England 186
cosmic roots 75
courage to act 88
Covert, John R. 133
craftsman style house 9
craftsmen¡¦s guilds 39
creating form 62
creative
acts 31, 34, 62, 190, 194
expression 24
path 27
process 6, 10, 201
evolving organism 190
flexible and fluid 188, 190
work 42, 81, 88, 195
creativity 9, 10, 40, 195
ambiguity 10
exercising 10
origin 18
potential 10
self realization 84
source 60
tools 197
Critical Existentialism 81, 85
cultural symbols 62, 63
D
dance 38
Darwin, Charles 190, 199
da Vinci, Leonardo 42, 78
Dechenlabrang Monastery, Nepal 131
de Laszlo, Violet Staub 33
democracy 76
Descartes 48
Desert School 202
design 197
basic 200
considerations 195, 201, 203
priorities 195
tools 197
determination, discipline, and faith
197
developmental lessons 18
direction 10, 12, 18, 24, 27, 110
Docheiariou Monastery, Greece 189
dolmen 19
dolmen entry, Bryn-Celli-D du,
England 59
dolmen / megalith house 214
doubt / faith 196, 258
drawing 198, 259
horizon 259
line extensions 259
pieces of a puzzle 259
universal language 198
vanishing points 259
Drew, Philip 74
The Third Generation 74
Dubos, Rene 28, 33, 34, 40, 49, 58, 60,
62, 79, 83
Dulles Airport 182
Durrell, Lawrence 71
E
earlier life experiences 64
early expressions, architectural 98¡V104
early human habitats 120¡V127
earth 49, 70, 175
anchor point 49
base element - foundation 49, 70
food, water, shelter, and fuel 49
integrated sketches 106¡V108
physical and biological origin 49
preservation 75
earth connected 24¡V25, 48¡V52, 70¡V71,
75, 114, 204, 206, 209
contemporary architecture 132,
140¡V142
elements 144¡V153
planar forms 152¡V153
sculptured earth forms 150¡V151
wall forms 146¡V149
forms 110¡V133
highrises 220, 222
indigenous architecture 128¡V131
earth expressed, sky implied 72,
216¡V223
earth-sky architecture 14, 206¡V207,
224¡V236, 242
historical examples 27, 180¡V183
reinforcing philosophies 170¡V172
earth-sky (vision) 44, 48¡V49, 57, 62,
70¡V72, 74, 170¡V179, 184, 196
connection 48, 53, 69, 70, 203
cosmic and terrestrial 173
energy between 74
expressed 73
image 19, 133
phenomenology of light 175
image 19, 133
economic system 34
ecopsychology 35
ecosystem 196, 223
Egypt, Giza Pyramids 31
Eliade, Mircea 33
energy between earth and sky 19, 44,
52, 74
Enlightenment 79
equilibrium 28
eroded rock formations 45
essence 80, 97, 189, 195
balance of forces 184¡V188, 189
events, life 18
evolution of a vision 10, 12, 18, 89, 97
early expressions 98¡V105
emerging path 134¡V138
exploring ideas 144¡V156
sources / influences 110¡V134
studies / drawings 160¡V169
evolutionary experience 69
Exhibition Building - Nervi 40
existence 30, 84
existentialism 78, 84
French 84
German 84
Italian 84
positive 84, 85
shadow side 78, 84
experiences, life 19
experiential past 28
experiential world 18
expressions
architecture 206¡V245
objects
furniture 250¡V251
mechanical 254¡V255
sculpture 252¡V253
urban planning 246¡V249
F
faith . intuition . commitment 88, 92
faith and confidence 69, 196
Falling Water 65, 71, 181
father 19, 20
fire 203, 213
firmness, commodity, delight 42, 200
flexible and fluid (mental attitude) 188,
190, 194, 196, 201
floating roof 26, 65, 73
folk art 65
forge, propane metal 254¡V255
form 9, 40, 201
forms in nature 110¡V119
Frampton, Kenneth 44, 75, 175
Frankl, Viktor E. 80, 81
furniture designs 250¡V251
future direction 12
G
Gaelic, term 52
gates, metal 39
Gehry, Frank 66
Experience Music Project 66
Guggenhheim Museum 66
sculptural forms 66
Geils Residence 20, 134¡V137
genes 18
genius 10, 195, 201
Genius Loci 71
genius loci 18
Giedion, Sigfried 26, 43, 74, 172
Third Generation 173
Giza Pyramids, Egypt 31, 183
going inward 28
golden section 42, 257, end pages
gravity 49, 74
Grayson, David 81. See also Baker,
Ray Stannard
Great Possessions 81
Greece 35, 189
Green, Charles ¡V James House 71
Guggenheim Museum in Bilbao,
Spain 9, 66
H
¡§how¡¨ of life 30
Hawk Hill Residence 20, 238¡V243
systems, architectural 242
territories, floor plan 197
Hegel, George 84
Heidegger, Martin 52, 62, 72, 75, 84,
178, 201
hereditary characteristics 18
Hesse, Herman 196
highrise towers 220¡V223
Hillman, James 28
¡§hoodoos¡¨, Canada 207
horizon 21, 52, 259
edge of sky 52
horizontal landscape 22¡V23
Hughes, Robert - art critic 38
human
achievement 31
behavior 34
consciousness 38, 76
continuum 30, 60, 62
creativity 34
homeostasis 38
psyche 22, 31, 48, 60, 73
language of 57, 58
spirit 30, 31, 38, 40, 42
Huneker, James G. 38
Hungarian farm house 185
I
¡§image ethic¡¨ vs ¡§character ethic¡¨ 34
idea 10, 17¡V18, 82, 201
abstract thoughts 17
birth and evolution 18
sketches 156
idea, evolution, reality 10
imagery 58, 62
universal 70
foundation 31
images 18, 58
collective 63
language 18
recording 10
images and symbols 57, 189
indigenous architecture 128¡V131,
184, 185
Abha, Saudi Arabia 188
Industrial Revolution 39
influences 18
ancient dolmen 19
lean-to construction 20
people, places, events, and
images 18
plant 140
stone walls 20
innate past 17, 28
inner forces and patterns 62
In Ruins 186
inspirational sources 186, 199
instincts and insights 28
internal and external forces 27
intuition 8, 28, 62, 69, 78, 80, 89, 201
Irrational Man 85, 87
J
Japanese cemetery 125
Jaspers, Karl 85
Johnson Residence 138
judging architecture / art 42, 200
Jung, Carl 28, 42, 61, 63
uniqueness 10
K
Kahn, Louis I. 189
key information 22
L
L¡¦Antiquaire 44, 75
Lake Patzcuaro, Mexico 53
Last Man Home - Tarjei Vesaas 174
Lauren, Henri - Aviator¡¦s Tomb 170
Lawrence, D. H. 39
lean-to construction 20
Le Corbusier 176, 181
Letters to a Young Poet 24
life / meaning 81
lifeblood 28, 60
Loarie, Richard 132
local cafe 41, 199
Lundy, Victor - architect 132
Lynch, Kevin 174
M
Machu Picchu, Peru 35
major themes, of book 9
Man¡¦s Search for Meaning 81
man-made in nature 48
Man and His Symbols 61, 63
man between earth and sky 44, 196
Man in the Modern Age, Jaspers 85
Marc, Oliver 45
Maslow, Abraham 80
materialism 34
Mayan temples 27
Medici, Religio 28
megalith, Champ-Dolent, England 59
megalith house 210
memories 28
mesa, Southwest United States 52
Mesa Verde, Colorado 131
Michelangelo 66, 69, 78, 199
David 66
Laurentian Library 66
Midwest Landscape #33 22
Midwest Landscape #97 22
Miller, Arthur 43
Milwaukee Art Museum 41
Mont Saint Michel, France 72
music 28, 62, 82
N
¡§natural¡¨ symbols 63
natural environment 9, 18, 34, 95, 203
nature 9, 12, 40, 195
nature and man 33, 34, 86
Navarro Ridge Houses 230¡V236
necropolis, Sinkiang, China 52
Nervi, Pier Luigi - architect 40
New England countryside 12
Nietzsche, Fredrick 79, 83
Nobel Prize 77
Norberg-Schulz, Christian 71, 74, 174
North Salem, New York 19
notebooks 198
note cards - 3 x 5 index 106¡V109, 197
O
Oakland Hills Residence 2, 224¡V229
office apprentice design
County Government Center 105
oriental structures 27
origin, of a vision 18, 24, 28
awareness 24
beginning 18
uniqueness 28
original thoughts 60, 61
overview 30, 34, 38
art / architecture 38
continuum 30
society / world 34
P
Paley, Albert 39
past, present, future 30
perception 30, 64, 76, 200
perception of life / reality 24
performing arts 62
permanence and change 57
personal
beliefs 194
expression 204
fulfillment 28
Perspecta #17 48, 58, 179
Pescara, Italy 129
philosophy 76, 77, 80, 84
existence 84
intellectual stage 76
life / meaning 80, 81
purpose 80, 82
speculation 77
suffering 82, 83
wisdom / knowledge 76
photography 27, 68, 69, 198
Pichler, Walter - sculptor 82
Pinnacles National Monument 206
Pirelli Building 182
place (location) 71, 74, 184, 188, 203
place in time and space 30
planar forms 119, 133, 152¡V153, 223
plant Influence 140
poetic beauty 22
Poetics of Light 175
Poetics of Space, The 44, 75, 179
poetry 62, 72, 189
Poetry, Language, Thought 52, 72,
75, 178
Polke, Sigmar 44
Polo, Marco ¡V ¡§land ship¡¨ 64
Ponti, Gio 182
precedents, earth-sky 170¡V172
preferences and affinities 69, 200
prehistoric ancestors 76
prevailing conditions 30
primitive architecture 59, 184
primordial
imagery 57, 63
roots. 9
principles
architectural 195¡V197
design 197¡V204
human 194¡V195
Programs of the Brain 38
prose and poetry 62
prototype earth integrated house 139
Psychology of the House, The 45
Pulitzer Prize 28, 33, 43, 81
purposeful and reflective art 38
R
raised platform 26, 65
reality 10, 34, 193
perception of 64
physical and psychic 70
realization of the past 24
recording tools 10, 197
notes, drawings, photographs 10
recurrent images 22
reference code (book) 6
reference points 30
reflection of man 38
relativism 78, 79
Rembrandt¡¦s Philosopher 63
Renaissance 78
resurfacing influences 61
Rilke, Rainer M. 24
Roadside Service Complex 202
Roberts House 140¡V143
Robie House 65, 181
Rohe, Mies van der 66, 182
Bacardi Office Building 66
Seagram Building 66
romanticism 78
Ronchamp Chapel, France 73, 181
Roszak, Theodore 35
Roxbury House 20
Rudofsky, Bernard 24, 184
ruins 35, 173, 186¡V187
Ruskin, John 9
Russell, Bertrand 77
Russia, Western Caucasus 92¡V93
S
Saarinen, Eero 182
Sabatino (Sam) Rodia 64
Saint Michael Island, Cornwall,
England 131
sanctuary - in a house 197, 203
Sartre, Jean Paul 79, 84
scandinavian farm 129
sculpture 69, 252
sculptured earth forms 70, 112,
150¡V151
Seagram Building 66
seeds planted 22
seed pod 68
Semperian formula 177
Silkeborg Museum 172, 176, 180
Simon Petra Monastery 35¡V36
Sinsabaugh, Art 22¡V23
Midwest Landscape #33 22
Midwest Landscape #97 22
site, of a building 74, 201, 203
Skara Brae, Orkney Island, Scotland 124
skeletal overhang 143
sketch cards - 3 x 5 index 198. See
also note cards
sky 52, 72
aerial element 53
air 176
implied 72
light and heat 52
rhythms of lives 52
sky related 45¡V47, 54¡V55, 129
elements 154¡V156
free forms 158
geometric forms 158
other forms 159
planar forms 156¡V157
Snow, Dan ¡V stone mason 20
So Human an Animal 79, 83
Soul¡¦s Code, The 28
source of creativity 60
Space, Time and Architecture 26, 74,
172
space-time continuum 30
Spanish aqueduct 72
spark that ignites creativity 17
Spirit of Place 71
spirit of place 24, 71, 184
St. Augustine 30
St. Loca, Amalfi Peninsula, Italy 49
stars - universe 63
stimuli, varied 17
Stinson Beach, California 188
Stone / Boulder house 209
stone formations 110¡V111
Stonehenge 32, 125¡V127, 183
Studies in Tectonic Culture 176
studio environment 199
style vs content 40, 43
subliminal recall 60
Sumela Monastery, Turkey 49
Sydney Opera House 9, 26, 65, 180
symbolic imagery 9, 58
ladder 58
language 9
skulls 58
symbols / symbolism 58, 62, 189
cultural 62
gene encoded 62
natural 63
timeless 62
universal 62
visual, written, verbal, mental 62
synthesis / analysis 184, 204
systems, architectural 242
T
¡§temples of God¡¨ ¡V flowers 18
table, art 39
Taktshang Monastery, Bhutan 56
talents and abilities 27, 195
Tantallon Castle, Scotland 187
technically competent 42
tension between earth and sky 19, 44
territories, concepts of 196¡V197, 203,
239, 244
Texas Residence 244¡V245
The Third Generation 74
thunder clouds 21, 44
time, concept of 30
St. Augustine 30
past, present, future 30
timeless symbols 62, 63
archetypal images 63
tools 197¡V198
¡§to see what everyone else sees...¡¨ 24
total absorption 10
treasure, personal 10
treasure hunt 69
tree, as earth and sky image 21, 45
Trulli House, Alberobello, Italy 50, 185
truth 34, 76, 78, 79
tufa rock 35
Turkey 48, 49, 89, 120¡V121
Tuzigoot Indian Ruins,Verde Valley,
Arizona 54¡V55
U
umbrella concepts
concepts of territories 196
earth and sky 196
ecosystem 196
scope 196
unconscious 8, 17, 38, 58, 60¡V63, 195
199, 201, 204
absorption of information 60
access to 60
creative tool 60, 190
explore 63
intuition 64
lifeblood 60
psychic reservoir 60
source of creativity 60, 199
two forces 60
unconscious awareness 63
understanding a system 34
uniqueness 8, 10, 12, 28, 64, 81, 195,
201
aesthetic 28
ancestral forces 18
experiential past 28
innate past 28
view or vision 28
unity, of design 184
universal symbols 62
universe 34, 40, 52
University of Illinois 22
urban planning 246¡V249
Utzon, Jorn - architect 26, 65, 74,
170, 172¡V173, 180
architectural vision 26
Platforms and Plateaus 173
Silkeborg Museum 172
sketches 26¡V27, 171¡V172, 176¡V177
Sydney Opera House 65
World Exhibition competition 65
V
Van Gogh, Vincent 67
Vermeer 67
villages, Bani Murra, Yemen 51
vision 9, 10, 24, 27, 42, 44, 64, 69, 70,
190, 201
architecture 70, 242
beginning 24
central idea 44
multileveled 57
perception 64
symbolism 58
wholeness 64
vision images 14
visual equilibrium 44
Vitruvian Man, The 42
Vitruvius¡¦ ¡§delight¡¨ factor 74
Vitruvius, Marcus 42, 200
Voice of the Earth, The 35
W
¡§why¡¨ of life 30
wall forms 146¡V149
walls 20
connected to the ground 20
stone 20
water 203, 213
Watts Towers, Los Angeles 64, 82
Western Caucasus, Russia 92¡V93
Western Civilization 77
Weston, Cole - bust 252¡V253
Weston, Edward 68
wholeness 8,12, 30, 34, 64, 86, 94,
95, 200
achieving 190
architectural 95
balanced systems 94
interconnectedness 190
window of the mind 17
Wisdom of the West 77
Woodward, Christopher 186
Wright, Frank Lloyd 65, 71, 181
organic architecture 65
writing 27, 258
prose and poetry 62
Y
Yemen
Al-Hajra Village 191
Bani Murra 51
Young, J. Z. 38
Z
Zodiac Magazine #10 170
#14 25, 172
Book Proportions
When open, the book conforms to the proportions of the Golden Section as indicated by the diagrams and the Febonacci numbers on the two end pages.
Readership
Architects, artists, teachers, students, and general readers interested in creativity and /or architecture.
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