Law of Attraction Subconscious Mind Power
Your group will create a final product, the physical manifestation of your creative efforts that will be uniquely yours. It will belong to you as a community and you will live with the results. Your architects can't take credit for it they just drew what you asked them to draw. Neither can we, for even if you use this book carefully and completely, it will only serve as a guide to the process, not the product.
The physical manifestation of this rich history was badly damaged (and in many instances obliterated) in the Blitz of World War II. Christopher Wren's church of St. Alban's, for example, survived only as a tower the one that now stands in the centre of a widened street and one has to imagine a scene that for many years took on a curiously romantic character as nature populated the ruins (of what had formerly been a garment area of large Victorian warehouses) with grasses and pretty wild flowers. David Kynaston describes the Barbican area as, for many years, 'virtually a wild heath, littered with the remnants of a commercial civilisation'. But the LCC planners saw it all as a massive opportunity to march optimistically into the future, taking the relaxed building controls of the mid-1950's as an opportunity to offer the City a realigned London Wall ('Route Eleven', the making of which unearthed hundreds of human skulls) and the Barbican.
In our experience people often sit around a table and work on one map at the same time. Don't hesitate to change your mind and try again, and don't worry about mistakes. Keep copies that seem wrong, or out of date. They may be useful later. Try cutting and pasting the best parts of each map attempt together to form the ideal map. Allow this process to be messy at the start. And be sure you do it together as a group so that you own the results together as a group.
Neuromarketing charts the neural activity that leads to our selections in the supermarket and the voting booth. It studies the subliminal responses of the brain to adverts, brands and other messages littering the cultural landscape. The aim is to transform otherwise rational people into consumption-driven robots, so achieving the complete corporate manipulation of people. The means are to trigger neural activity in various ways so as to modify our behaviour. Atlanta's Brighthouse Institute for Thought Sciences claims it is closing the gap between business and science - with the goal of getting us to behave the way corporations want. 'What it really does is give unprecedented insight into the consumer mind. And it will actually result in higher product sales or in brand preference or in getting customers to behave the way they want them to behave,' notes company executive Adam Koval.10 'Let that quote linger in your mind,' as the organization Commercial Alert comments acerbically.11
But suppose that walls rise towards heaven in such a way that I am moved. I perceive your intentions. Your mood has been gentle, brutal, charming or noble. The stones you have erected tell me so. You fix me to the place and my eyes regard it. They behold something which expresses a thought. A thought which reveals itself without word or sound, but solely by means of shapes which stand in a certain relationship to one another. These shapes are such that they are clearly revealed in light. The relationships between them have not necessarily any reference to what is practical or descriptive. They are a mathematical creation of your mind. They are the language of Architecture. By the use of inert materials and starting from conditions more or less utilitarian, you have established certain relationships which have aroused my emotions. This is Architecture.
Again the little vestibule which frees your mind from tjie street. And then you are in the Atrium four columns in the middle (four cylinders) shoot up towards the shade of the roof, giving a feeling of force and a witness of potent methods but at the far end is the brilliance of the garden seen through the peristyle which spreads out this light with a large gesture, distributes it and accentuates it, stretching widely from left to right, making a great space.
Like the film-goer engrossed within the cinematic apparatus of yore (see Baudry, Deleuze and Penley), this well-immersed designer sweats and squirms and grunts over what he watches before him. This is an exacting processing behaviour, like the subconscious mind during the dream state, cycling through the raw data of everyday life, cutting and pasting, iterating towards multiple provisional renders on the mind's eye.
What is happening here This is the rickety creative process, this is the conscious mind reaching out to the subconscious mind. This is the creative process sifting H-creative and P-creative ideas and concepts. P-creative ideas are the ones that are new ideas to you personally they are not necessarily entirely original, but if you dress them up in all your usual architectural lexicon, people rarely notice. H-creative notions are the ones that you really want. These are ideas that are historically original, like Einstein's or Darwin's. Such ideas are great epistemological shifts, discontinuities in human culture.
Stark images like those in One Planet Many People Atlas of our Changing Environment by the UN Environment Programme can sear into your mind.1 Everywhere you look there is cityness. It has invaded our landscape, so shaping our mindscape. Comprised of time-series satellite images of the globe over the last few decades, the images provide powerful visual testimony to our increasing dominion over the planet. Considered ecologically, these images should sound alarm bells industrialization and agriculture sweeping over indigenous flora and fauna, water resources shrinking, deserts increasing. Most strikingly, they show the irresistible growth of urban areas.
Aesthetic ideals of the Muromachi era and their influence on garden design monomane yugen yohaku no bi
Highly appropriate to our context are the words of Shinkei, the fifteenth-century poet who emphasized the stylistic importance of empty space in poetry thus In linked verse, put your mind to what is not . His thoughts clearly echo those of Zeami in his famous statement on Noh theatre Senu tokoro ga omoshiroki - What (the actor) does not do is of import. 54 For the Western, non-Zen viewer, the art of yohaku is perhaps best described in terms of Mies van der Rohe's less is more the less that is made explicit, the more that is left to the imagination of the beholder.
Thousands of windows over a period of years. This is not to say, however, that piecemeal replacement of odd windows as and when required is necessarily ideal either. Picture in your mind the front elevation of a 1920s-built semidetached house with a steel-framed 'Crittall' window to one of the bedrooms in the original small square-paned pattern, another with the 'sun-trap' rectangularly subdivided lights and the ground floor window in modern plain-glazed lights - an architectural nightmare At the other end of the repair replace spectrum, is there not a case for replacing all the windows, and doors too, with double- or even triple-glazed 'maintenance-free' PVCu units Suffice it to say here that such units are unlikely to be maintenance free. A study by Berry (2000) of such wholesale window replacements in a number of local authority housing stocks has shown a continuous need for attention to the associated ironmongery easing and adjustment of hinges and attention to locking mechanisms....
First, put off that tough part that has you stymied till last. Then, finally, when there is nothing else that can be done and the whole project is being held up due to lack of completion of that critical section . . . spend a day or two going swimming, fishing, etc. This serves several purposes (1) It makes you regret wasting the time and (2) it allows your mind to fester. Once you begin to worry about letting time slip through your fingers, you'll get desperate to finish the job. You'll be infused with a form of cheap courage which should give you enough motivation to actually tackle that seemingly impossible task. This is very important . . . just as it's important to allow your mind to fester. When you're sufficiently festered and truly desperate, you'll get back to the project. Maybe you'll grab a 2x4 or a post that you'll run clear up to a beam somewhere because somehow in the back of your mind you know that it'll make the door jamb sturdier if you put it in that way. So you nail...
Choosing when to resist or go with the flow of turbo-capitalism will be pivotal for cities wishing to move forward. As Dee Hock, the founder of Visa Card, notes, 'Change is not about reorganizing, re-engineering, reinventing, recapitalizing. It's about reconceiving When you reconceive something - a thought, a situation, a corporation, a product, a city - you create a whole new order. Do that and creativity floods your mind.'5 Given fuller rein, the impact of change and creativity on organizational culture is far
From this premise of the aim of civilization I propose a conceptual framework. Think of faultlines, battlegrounds, paradoxes, drivers and strategic dilemmas and navigate your mind around them. It may help decipher what is happening and what might be done. You will find gaps that you can fill in. To do this adequately requires a kind of thinking that is holistic and sees the connection between things rather than the fragmented parts. Indeed, the battle between these two ways of thinking may be the biggest faultline of all.
As a formative idea, hierarchy in the design of buildings is the physical manifestation of the rank ordering of an attribute or attributes. Embodied in this concept is the assignment of relative value to a range of characteristics. This entails the understanding that qualitative differences within a progression can be identified for a selected attribute. Hierarchy implies a rank ordered change from one condition to another, where ranges such as major-minor, open-closed, simple-complex, public-private, sacred-profane, served-servant, and individual-group are utilized. With these ranges, the rank ordering can occur in the realm of the formal, spatial, or both.
How do you get around Does the transport system work Is the metro clean Does it operate frequently and without hiccup Are suburban train lines efficient Is the journey itself worth the experience, so you relax into the journey itself, just travelling, as you might in Hong Kong Or is it more unpleasant, like in London, where you feel crowded in and your body tightens up and where you think of the next experience to take your mind off the present one Does the car traffic flow through the city Is parking available Ordinary facilities working like clockwork.
But suppose that walls rise towards heaven in such a way that I am moved. I perceive your intentions. Your mood has been gentle, brutal, charming or noble. The stones you have erected tell me so. You fix me to the place and my eyes regard it. They behold something which expresses a thought. A thought which reveals itself without word or sound, but solely by means of shapes which stand in a certain relationship to one another. These shapes are such that they are clearly revealed in light. The relationships between them have not necessarily any reference to what is practical or descriptive. They are a mathematical creation of your mind. They are the language of Architecture. By the use of raw materials and startingfrom conditions more or less utilitarian, you have established certain relationships which have aroused my emotions. This is Architecture.
In a discussion of architectural representation, it is appropriate to include the faculties of memory, imagination, and fantasy as fundamental components of sketching. Each has a specific identity, but they are also inter-dependent. Memory is a part of our conscious and subconscious mind it is impossible to escape its presence and influence, thus, it has significant influence upon imagination and fantasy (Casey, 1976). A common definition of imagination as an autonomous mental act includes the power of the mind to form a mental image or concept of something that is unreal or not present. This definition is important in understanding architectural sketching as a creative endeavor, because not knowing how mental impressions originate leads creative people not to speculate, but to proclaim that they came from imagination. Imagination, whose main abilities include a lack of determinism of ' pure possibility' , is related to memory and fantasy as an influence or a possible mode of...
That's it The process is relatively simple and repetitive, which frees your mind for creative problemsolving when and if problems arise. It is impossible for us to address all the things you may encounter, but with a good basic understanding of all the elements involved, a willingness to experiment, and the ability to adapt your expectations to the reality of the medium, you too can build a uniquely beautiful structure that will outlast any contemporary building currently endorsed by conventional construction (Fig. 12.33).
You will be given untold amounts of advice while planning and building (only pregnant mothers get more ). Especially when dealing with professionals, it is easy to be overwhelmed (or even bullied) into changing your mind against your better judgment. Don't be belligerent do base your decisions on good research, but don't buckle if you believe you are right.
- somehow hiding the inescapable and harsh reality of the surrounding desertscape. Edward McBride, expressing the official architectural reaction to this project, noted that the hotel is symptomatic of an era where 'the medium is the message' although unlike in Las Vegas, where one has roulette wheels, magic shows or night clubs, here the 'spectacle' is the structure itself (McBride, 2000). He further noted the projects exclusiveness '. . . the management has tried to heighten the hotel's allure by preventing people from visiting it' (p. 118). He describes it as a 'ritzy haven from Arabia's sandstorm' and that the hotel has become a symbol of 'the triumph of money over practicality' by 'elevating style over substance' (p. 125). The project was thus designed from the top down by starting from a desired image and moving to its physical manifestation. Such a reaction is typical from professional architectural circles yet it belies the real intention behind the creation of these icons
At the beginning of the 1990s, the baby was the ultimate advertising accessory for a 'caring decade'. However, in architecture, the baby did not, even for cynical reasons, appear in the photograph. The most obvious and important action of the architectural photograph is to empty architecture of its inhabitants. The absence of people from the architectural photograph is the physical manifestation of a deep fear of the user within the architectural profession. For the architect, the occupant is an intruder, analogous to dirt, in the sense defined by Mary Douglas as matter out of place.4
The physical manifestation of racial separation and domination becomes an important starting point in understanding the African American experience and its relation to architecture. The architecture and the planning of slavery most clearly reveal racial impacts on our built environments. Looking at the system of slavery, we can see how attitudes toward racial differences generated opportunities and structured design ideas for artisan-slaves and those who stole their labor.
The cost of making a decision in predesign is comparatively small all you have invested is your staff and the design team's time. Each decision becomes the basis for future decisions and project direction, so as soon as each decision is made new questions arise, and they form layers which become the bedrock for your building. Gradually they build up as the project proceeds, so that changing your mind later can involve throwing out the work of the working groups and design team potentially delaying the project and adding work and cost as you double back.
Was evident in the 1969 film Midnight Cowboy, which added homosexual prostitution to the blend of troubling images. But it was depicted most vividly in Martin Scorsese's 1976 film Taxi Driver, in which a psychologically disturbed cab driver is propelled to an explosion of violence by the depravity of New York. The streets of Times Square, pocked with glaring porn theaters, form the backdrop for this drama and the recipient of the hero's violent rage is a shameless pimp who sells adolescent girls. The movie affirmed Times Square as the physical manifestation of civic decline.
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Occupational And Career Blitzing
Think of your occupation as your main outlet for origination expression. Your occupation might take the form of a revenue generating career you execute or a business you handle, but it doesn't have to. This book will provide insight to focus.