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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 1:48 pm    Post subject: The Silver Screen of Architecture The Silver Screen of Architecture This forum is a place to post all the latest ideas, theories, images and interesting links of architecture. And, since this is the case, here are some interesting latest discussions we have seen on these forums -->> Here are some great threads being debated recently --->> Silver Screen I What makes Dubai's architectural market so hot? Silver Screen II VAPOR BARRIER STUDY SPOKANE WASHINGTON WITH 103 HOMES Silver Screen III This was an interesting discussion as well -->> Vertical Vs Horizontal Living another direction? Silver Screen IV and this one is food for thought --->> Artificial Intelligence & Architecture SILVER SCREEN V This one is very popular --->> Intelligent Design SILVER SCREEN VI and this one on Concept in ARchitecture was splendid ! Concept in Architecture Silver Screen VII This topic presented some interesting challenges -->> Irresponsible Builders, Poor Quality, Lowsy Developers Silver Screen VIII This one gained a certain degree of popularity --->> M.I.T. Sues Frank Gehry, Citing Flaws in Center He Designed Silver Screen IX The same for this one, even more so --->> A Platform of Participation Silver Screen X and this is a nice post -->> Dubai is real....the birth of Dubaism Silver Screen XI This topic on Human Space also presents some interesting challenges to us architects -->> HUMAN SPACE part ll Silver Screen XII and the related topic, Human Space Part I Human SPACE PART II SILVER SCREEN XIII This one was most interesting, and popular ! Wind Energy Skyscrapers SILVER SCREEN XIV This, one of the most popular of contemporary subjects in architecture --->> “Form follows function" - what is your point of view??? Silver Screen XV I found this topic on Ocean Cities fascinating also --->> Ocean Cities SILVER SCREEN XVI and this one was great also ! -->> Creativity in Architecture Silver Screen XVII This topic presented some interesting challenges as well -->> Famous Architects - "gods" or cultural icons? Silver Screen XIX Good job to those who created this topic --->> double wall construction techniques Silver Screen XX This topic went very far --->> On postmodernism Silver Screen XXI the same for this one -->> Stucco vs. Hardsiding SILVER SCREEN XXII and this topic was most fascinating ! Honeycomb housing: an alternative to terrace or row houses (and contrary to what some claim, all those responses were my own genuine responses to the topic, not copied from any other site). Silver Screen XXIII This topic went very far also many contributions -->> Conventional Wisdom About Energy Efficient Construction Silver Screen XXIV and this topic, although less related to architecture, is also very interesting -->> Ancient Identical Walls: Tiwanaku-Bolivia, Hattusa, Turkey ============================================================================================== Post composition date note: Some have completely mis-understood the nature of this post. Therefore, a need to explain -->> It is a collection of the links I have enjoyed most on this forum, together with a collection of my recent essays and writings in architecture. So this explains the large quantity of characters and words. It is not elaborated as a standard discussion topic, but rather as a summary of the links I have found most interesting in these forums, and I wish to keep it this way. So please post comments relevant to the issues and relevant essays in architecture. I do welcome constructive feedback on the topics, but no monkey wrenching, ridiculing or hijacking of this post, please. Enough topics have already been ruined in this design community forum due to this type of behavior by ill intended individuals. Please save the forums therefore and submit your constructive feedback please, and ones that are relevant to the topics at hand. Each topic posted contains a further definition of terms, and I suggest also readers look into the individual posts and become familiar with them first, and then reply with constructive, positive, well elaborated articles that address the various topics posted and which to have been found, in my opinion at least, to be among the best on these forums. I do hope everyone can keep it this way. Thanks and cheers ! Last edited by usarender on Fri Jan 25, 2008 6:36 pm; edited 2 times in total
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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 2:02 pm    Post subject: And here are some topics I have posted recently and in this last year, also related to architecture -->> Latest Modern Architects Santiago Calatrava Organic Architecture Organic architecture, one could say, is one which responds directly to the functional aesthetics of man and nature in such a way that it's corresponding form translates a sense of spatial and material connection to the organic properties as seen in nature. World's Biggest Mega Architectural Projects Foster + Partners Crystal Island What do you think - is Beauty in The Details ? We have frequently heard it said, "the beauty is in the details". Some claim "the devil is in the details". And others "God is in the Details". Others will show how the beauty in the whole can be contemplated in it's parts, in each detail within the design. Thus, the part reflects the whole, and the whole it's parts. With this in mind, FLW and a great many designers have aspired to the sublime, to the ultimate perfection in design, to achieving a unity of form in function, in a relentless pursuit of this ultimate goal of integral design unity and harmony in the whole and in it's parts. Computer Aided Design & Architecture FISH Artificial Intelligence & Architecture The New Language of Architecture and Artificial Intelligence A NEW SYSTEM OF AI In architecture we need a new system of AI capable of creating a human computer interface, where the power of the human mind and it's reflection of ID guides the ultimate design of AI by establishing the set of "DNA architectural sequences" that will produce the proper result when fed into the AI system. THE NEW DNA AND AI IN ARCHITECTURE This systematics will allow for the expansion of architectural laboratories, where the human interface interacts with the AI and the second learns the proper set of " DNA" architectural sequences needed to solve particular problems, and can thus instantaneously, so to speak, display an infinity of results in the physical dimension of modeled space. This now is the ultimate design tool, one that allows for the fine-tuning and progression of the system based on the human interface interaction in a never ending progressive experience. The proposal is for maintaining the human interface in these AI systems as a permanent dialog. Thus, by speaking of an intent, and by the selection of desired DNA architectural sequences, the designer thus will be able to guide the initial directives for the AI system to propose the alternatives. In turn, the dialog continues and the design evolves to the likes of the intelligence of the designer, who must thus maintain control of the system. In sequential experiences, this learning experience can lead to stream-lined communication platforms, where entire sequences of DNA architectural encoding can simply be selected by choosing pre-selected images which contain the directives for those previous sequences of decisions. Also, verbal dialogs can just as much program the directives in the same way as command or key directives. Thus, a whole new range of interface options will result and a whole new way of AI design has been established. The Logistics of ArcHiTecTural ThougHt -->> 1. A Problem. Fixed as determined by client. 2. A context. Fixed as determined by the constraints. 3. A function. Fixed as determined by the client or user's needs. 4. A concept. Variable. Example"Des-integrate and re-structure mental energy". 5. A form. "Voyla". Variable. Building with Earth Irresponsible Builders, Poor Quality, Lowsy Developers A Platform of Participation The Technology Integration System Together, by harnessing the power behind Mass Collaboration, Networked Intelligence, Lightweight Collaboration, Emergent Intelligence, Collective Genius, Open platforms, Open Innovation, Collective Intelligence, Global Innovation Networks, Decentralized Collaboration, Social Networking, Open Source, Crowd Sourcing, Peer Production, Social Production, Self-Organized Communities, and related concepts, we create together the Global Technology integration system, where everything is possible. Flying Concrete Last edited by usarender on Sun Jan 20, 2008 2:30 pm; edited 2 times in total
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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 2:12 pm    Post subject: And here are a few more interesting links & topics posted recently -->> Global Innovation & Architecture - The Pyramid A Myriad of New Technologies The "Advanced Global Technology Integration System". 1. "The theory of Gravitational Kinetics of Motion". 2. "Terrestrial Transportation System X". 3. "The Gravitational Cancellation Theory". 4. "Energy States and Their Relation to Renewable Energy". 5. "The Model of an Atom as a Source of Renewable Energy" 6. "Magnetic Cancellation Theory". 7. "A Blue-Print For the Computer of the Future". 8. "The New Internet and Data Transmission System" 9. "The New Global Connectivity Platform" 10. "The New Language of 3D Design and Artificial Intelligence" -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- The Structural Gate to Space We have developed a proprietary design to solve a challenge and allow every man to access the sky, at an affordable cost. Latest Developments in Architecture & Technology Mega ‘world jewel capital’ complex to rise in Riyadh Better Alternate Structural Systems The Structures of the Future We are leading architects and have many ideas pertinent to new structural forms, orders and solutions for the future. We would like to invite discussion, postings, and images on this subject, so we can debate their technological implications on buildings. We are developing many new technologies and also we have many architectural visions of how the cities and buildings of the future will be designed. We have created a project to unify these technologies and help bring about a uniform platform of cooperation, research and interactivity to allow the development of these new technologies. This project can be seen at -- We would like to invite you to become familiar with the project, so we can exchange ideas on the structural implications of the new architectural vision we have. This project maintains tremendous implications towards architecture. A universal integration system will allow us to project and design the cities of the future in a global, community driven system. We have a series of new futuristic architectural design ideas we wish to share, which are a natural consequence of this project and way of thinking. We would like to invite you first to become familiar with this project. We welcome all to join in this vision and help us unite our creative forces in such a way as to globally re-organize our existing reality and the corresponding architectural, structural and technological determinants which currently shape our existence in the world as we know it. This is not about promoting a particular business, product or service and is not about promoting a commercial venture. It is a global, participative effort. Being a unified effort, it is bringing in some of the worlds greatest minds together, to develop ideas in a unified fashion. This is what global cooperation is all about! We are developing new theories of architecture, new ways of developing architectural thought, new systems that will substitute existing building technologies, and a global platform to unify all this technology under a dynamic experience. We are developing this in a concurrent, joint fashion and promote anyone who wishes to come join along. We will share our ideas with you and help you realize your own ambitions.
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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 2:41 pm    Post subject: ON THE TERM "CONCEPT" IN ARCHITECTURE, found in the discussion on Concept in the link presented above -->> Rather then referring to "concept" in architecture, we should use the language of architecture, and speak of what "vocabulary" we wish to use and what is the language of our design. It is the language of architecture that conveys the meaning, the intent and can create a world before our eyes. "Concept", on the other hand, is vague, more related to philosophy, to the the mind. It does not express the true vocabulary of architecture. If we analyze the history of the word, the use and application and it's confusion can be understood. In architecture, it seems we tend to be carried by pre-conceived ideas and these tend to get carried on by generations and the terms are mis-applied or ill fitted to express the nature of the architectural thought and language. When we began to speak the language of architecture, we will begin to ask : What VOCABULARY or LANGUAGE of architectural thought have you adopted to guide your design idea, not what CONCEPT have you chosen ? We as architects must seek to undermine the status quo, the traditional way of thinking and radically re-compose the world and vocabulary that should belong to us as a profession, and not simply be a coining of ill applied terminology. By Mr. Nelson
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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 2:50 pm    Post subject: Human Perceptions of Space in Architecture HUMAN PERCEPTIONS OF SPACE and the creation of Architectural Theory and it's relation to design practice. We need new architectural theory and ways to design our environment, based on the human experience of space. In our architecture, we must create a humanizing implant of forms that allow the space to be bound by the human experience. Thus, we see the role of architecture in the ordering and articulation of space. The Po MO plastic surface architecture we see in many of our cities is ordered by developers rather then by a true architectural sense of spatial responsibility and human experience. Thus, we must lay for the future a new path, one of the destruction of the old cold de-humanizing space, and for a re-creation of architecture according to the relationship it has to space and the experiencing of space. So, when we speak of culturally and humanly relevant architecture, rather then speak of "Experiencing Architecture", we must speak of "Experiencing Architecturally Humanizing Space". Some Important spatial concepts we must consider are -->> 1. The importance of Localized spaces. 2. The ideas of Spatial extension and movement. 3. Articulate human space versus the space of movement. 4. The Ecstasy of Infinity. 5. Vastness and narrowness in architectural definition. 6. How networks of mobility influence our perceptions of space. 7. The road and movement of cars leads to a defacing of the cities, and lack of local spatial definition! 8. The street is ex-centrically related to dwelling space. So in architecture, how we articulate our space becomes important. Thus, how we create a sense of community in contrast to the path of the vehicle, which exerts a dehumanizing experience of space. Architecture thus also becomes culturally influenced by the cosmic connection or lack of cosmic connection to the universe around us. Thus, the practice of architects outside the confines of their own culture can be a risky business, in other words. The cultural values placed on different conceptions of space becomes thus relevant. In architecture, we dehumanize our spaces when the same lack humanizing spatial qualities in both our urban spaces as well as in the architecture of our buildings. In architecture, nothing can be a " natural fact". There is no use in celebrating the decoration, if the architecture, in it's " functional aesthetics" has not understood it role to develop a more organic connection with nature. In nature, we see a natural progression and a connection and spiritual unity in form and function. But in architecture, this must be artificially created, otherwise it is not present in any form. Thus, to say this immutable law of nature automatically applies to architecture does not make sense. Further, in nature, there is no sequential relationship of elements between form and function, as this assumes. There is a unity between the two. In architecture, this unity is not always present and depends on the designer, in his ability to unite form and function into an integrated solution. Many times, architects can create forms that somewhat deviate from their function, and thus there is no inherent " natural " connection between ideas, unless a designer knows how to produce this connection and translate it into his architecture into a beautiful union of form and function. Now, we have a completely new formulation and variety of spaces to deal with in architecture -->> Stationary space, spaces in movement, articulated spaces, vast spaces, narrow spaces, spaces in networks of mobility, ex-centric spaces, home based centralized referential spaces, localized space, defined space, undefined space, community spaces, infinite space, vehicular spaces, ground space, elevated space, horizontal space, vertical space, ceiling space, pathway space, enclosed space, open space, directional space, fluid space, contemplative space, transitional space and on. The list becomes endless, according to the human experience. Space is no longer an infinite fluid undefined element that we allow to simply " flow " through our architecture. Space thus becomes relevant to the human experience in a beautiful way. We can allow this way for a greater connection between our spatial conceptions and our cultural heritage. This also can influence our zoning laws as perceived by our cultural values. By taking artistic and cultural values of a particular society into account, we can create a relevant spatial language and thus implement this in a practical way into our ordinances in such a way that we preserve our artistic and cultural history, by our conception and perception of space. (Public, private, transitional spaces particularly). No longer do we need to order our architecture according to classic ordering principles. Those, of romantic or ancient times, become substituted for a new language and vocabulary of architecture that frees itself from the traditions of the past. We thus discover, moreover, that by allowing our architecture to maintain a greater sense of spatial vocabulary, we also develop a more intimate connection to the human experience of the world around us. Further, our architecture can define whichever conception of space we wish to project. Our architecture can thus better relate to how we define, experience and view the space around us. In a localized statement, there is thus room for architecture to create a human mood definition of how to relate to space. In creating an architectural mood, and a connection to various conceptions and human experiences of space, our architectural space can be thus treated in a multitude of ways, depending on the spatial relationship and experience we wish to high-light, as defined by a program of spaces. Thus, our architecture can be treated as "ground space", elevated or suspended space, floating space, ceiling space, pathway space, enclosed space, open space, directional space, fluid space, articulated space with open and closed voids, which define the human experience as localized spatial experiences. Thus, our buildings can open up to the cosmic space at times, to create a sense of insecurity, or even of ecstasy of infinity, or feeling of vastness, or can close into personalized space at times, to allow for a feeling of definition. Our architecture can be "floating" and create a sense of fluid light spaces, or can be, according to the hierarchy of architectural spaces, be created as primary or secondary space. We can use the concept of ground space to relate to the home, and elevated space, in connection to the sky, as the place to dream and view the world below. We thus have a new sense and meaning to the exploration of space, and to the idea of building cities in space, as we will be experience the cosmos and world around us in a completely new way. We can thus formulate a new vocabulary and language of architecture, using this new conception of space. Space no longer is universal, endless, it becomes defined by the human experience! Thus, we can create buildings or spaces as pathways, such as museums, or as fluid space, where the changing nature of the functions allows for a fluidity of definition. We can thus associate this fluidity of space with a fluid, movement oriented architecture and translate this into fluid forms. We can design our architecture along new networks of mobility and allow it in a sense to communicate in a different way from localized architecture which maintains a greater connection to the community. Thus, the future networks of mobility, both earth-bound, and celestial bound, become the new ordering and organizing elements, as they create new ways to perceive space around us, and thus will directly influence our views of the city, of civilization, of how to live in the cosmos and planet earth. The degree or facility of our mobility in these systems will determine also how we value our spatial experiences and thus also call for a new architecture. In the community sense, we can re-design our ordinances in such a way that we take into account the spatial definitions in the ordering of space. Thus, when we see our cities by following old traditional zoning laws, create a narrowness of space and do not allow man to expand into space as they should, we end up with new zoning laws that call for new ordering principles. Thus, in some cases, more stepping back of buildings, for example. This implies organizing our architecture according to the governing predominant beneficial spatial definitions that exist in the cities. Thus, culturally relevant landmarks become important in establishing zoning laws, points of reference, axial transitions, the relationships of volumes becomes important, as well as the architecture to be defined along paths of movement. The zoning laws can call for a different architecture along zones of movement, where the spatial perception is modified, versus localized neighborhood architecture. Both in essence call for a more localized humanizing spatial experience. Further, all these principles of space call for new urban re-development efforts, new city designs, and new ways to view the interplay of spatial definitions in our architecture. Further, an "anthromorphic" view of space defines that man in essence creates and defines his own conception of space, based on his localized experience. So taking this into account, we now realize the modern call to allow space, of infinite quality, to simply flow through our architecture is completely wrong. In doing this, we end up with architecture that lacks in spatial quality. Thus, our new architecture should deal with every aspect of space and our experience of space, and not organize itself based on external organizational principles, but based on the human experience of space as defined by a local context of our architecture. There is no more room, in this vision, for badly articulated space, for geometries and shapes which do not enhance the human experience. In effect, we learn how to better rid ourselves of the architectural trash of geometric spaces and shapes that maintain no relevancy to an experience of space. If the geometry and shapes create a human addition to space and help us better to create a mood of spatial experience, they become justified. If they do not, they are destroying and de-humanizing our spatial experience. We thus have a filter to use in our design practice. In Summary, we end up with a new vocabulary for architecture, a new vocabulary for the cities of the future and a new vision on how we perceive and influence the space around us, as Architects. Our buildings then can become more organic, more related to man and nature when we truly capture the human experience of space in all its multi faceted forms of human experience, from the contemplation of a flower, to the vastness of the expanse of the cosmic container of perception. When we understand how we as humans perceive space, we can thus establish a greater connection to nature and the cosmos as well. Truly, by relating our architecture to nature, as Wright did, to natural forms, to mountains, to rocks, to water, to lakes, to rivers, to plants, to air, to wind, to fire, to the earth, to the heavens, we create an articulated architecture that in essence becomes one with nature and embodies a deeper connection to the functions of nature, versus the merely the simple human functions. Our architecture, in being more connected thus to the world around us, will serve us better, will be more organically connected and will serve a greater function. This implies also on more organic forms in architecture, if architecture is called to respond to nature in such a direct way. Now what these organic forms be we can but only allow the site, local determinants (the context), technology, practicality and social acceptance to determine. We must thus learn to establish a connection between our architecture and the environment around us, and it's temporal qualities, such as Mr. Wright did in "Falling Water" and many great architects have done in contextualizing their architecture to the flow of energy, time, matter and the natural surroundings. Architecture that is immortal maintains a balance in it's connection to these elements, establishing a harmonious design that is in intricate connection to the world around us, and thus becomes the true "Timeless Way" of designing architecture." Down with dehumanizing versions of FFF architecture, and those that do not maintain a broader understanding and spatial vocabulary of architecture. Now, how can one argue FFF is an "immutable law of nature"? It was coined in architecture to express the modernist cry, and cannot be considered an "immutable law of nature" in any sense. In nature, it can be clearly seen, but not always in the architecture that has been produced over the course of time, since this modernist cry first arose into view. At times, the result has been such rigid control and application of FFF, that the buildings resulted in the application of narrow spatial understandings that led to cold, sterile, dehumanizing buildings that lacked a greater spatial definition and understanding. It can be seen clearly that those who are opposing these ideas are obviously the ones supporting the direct Form Follows Function cry in architecture, rather then the ideas as best expressed by Frank Lloyd Wright. Article by Mr. Nelson
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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 2:58 pm    Post subject: Beauty & The Beast of Details We have frequently heard it said, "the beauty is in the details". Some claim "the devil is in the details". And others "God is in the Details". Others will show how the beauty in the whole can be contemplated in it's parts, in each detail within the design. Thus, the part reflects the whole, and the whole it's parts. With this in mind, FLW and a great many designers have aspired to the sublime, to the ultimate perfection in design, to achieving a unity of form in function, in a relentless pursuit of this ultimate goal of integral design unity and harmony in the whole and in it's parts. We can say as designers and architects that the whole is summed up in the beauty it contains. Or the beauty of the entire design should be reflected to some degree in the care to detail, and these, so to speak play together in a rhythmic synchrony as instruments in an orchestra, and together elevate the spirit of the observer into a spirit of sublime contemplation. Do we as designers always have the opportunity to produce such masterpieces of design? In being restricted by our budget, by our clients tastes, too often we restrict ourselves into a forced functional simplification of form and detail, in order to contain the budget. But should this be the case ? There are many samples of simple designs that although not ornately and intricately detailed, beauty can be contemplated even in their simplicity. These are the true masterpieces. We need not look very far in our modern society to see buildings replenished with the latest technology has to offer, from the most advanced environmental controls, LED lighting, Green Design and Environmentally friendly materials and technology. But many of these seem to lack something, seem to lack attention to detail, in their mechanized approach to design. They may display gigantic sheets of plated glass or the latest in fenestration, or even a fancy exterior of late modern explorations of form, but are these buildings really being detailed with extreme concern for detail, or are the dictates of technology, of the clients and architects taste taking precedence over the beauty in the details ? In a study of architectural history, we find many periods and times when the dictates of the state, of the era of mechanization seem to supercead the dictates of the beauty in the details. And then there are buildings that externally may appear to lack detail, but are ornately detailed on the interior. Is this a contradiction ? What are your views on this? Does "beauty in the details" suggest a common motif and common design unifying element or can we unify chaotic details into a beauty of whole, as is frequently done in chaotic patterns in nature ? Do these make for good designs? And, further, how do you feel the design process should direct the beauty in these details? Should it be a reflective process, one that springs out from the spirit, from the sub-conscious, from the moment of eureka? Or should it be a conscientious, rational, sober series of small design decisions that follow a unified theme of design? And if beauty is in the details, does this suggest the beauty cannot be fully appreciated in the whole, without being able to grasp all the details from a distance ? From a user point of view, thus, if we are detached, distant away from the whole, we will not be able to contemplate the beauty in person, and thus not be able to fully contemplate the beauty in the design, unless we are there in person. With this said, and suggesting human scale, human perception and human forms of experiencing design all play a part in the perceptions we as designers have as buildings. Thus, it is not sufficient to simply study architecture from books. Thus, the need for experiencing architecture and the beauty in the details. Those, therefore who have never experienced a building in person cannot then fully contemplate the beauty in it's details. Is this an axiom and should beauty always be found in the details ? What then of minimalism ? What of functional formalism ? What is to be said for the purists and those who aspire to clean design? Can a design reflect beauty in the details simply from it's choice of materials and their combinations? Or should beauty be found in architectural details to a greater degree? Is a well detailed building then more beautiful then one built by a craftsman, with no architect to produce such details ? Or can a craftsman produce the same richness of details, simply out of his experience and own sense of beauty in the application of the same ? Can we find many samples of buildings that although lacking many architectural details, are just as beautiful as those intricately detailed ? Is not beauty in the eye of the beholder ? If this is so, beauty cannot be something contained simply in the details, but rather in the contemplation of the observer, who ascribes beauty within his framework of perception, to the vision he is obtaining within the context of his understanding. Thus, we can see beauty is culturally oriented, it is racially oriented, it is a relative element that may or may not be contained in the details themselves. We can find some styles in arts and architecture where beauty is revered, where ornate designs are in vogue. In other movements, simplicity and truth is sought in the pure simple form and application of materials and structural honesty. Thus, beauty can also be inevitably linked to our philosophy as designers, to our ways of designing and interpreting beauty. This may or may not match the frame of reference of the observer, and may or may not be contemplated in the details we design. Why is it, however, that certain buildings are inevitably beautiful to almost all, while many are beautiful to only select groups of people? This suggests there are common perceptions of beauty and these are translated into architecture, as the Greeks, the Romans, the Aegeans, the Moorish, the Christian, the Muslim civilizations have aspired to do for centuries. Thus, the ultimate quest for beauty in the details goes on. And the changing values, tastes, technologies of the times will always to one degree or another dictate the direction of possibilities. But it is in our mind and creative spirit that this ultimate beauty resides, and finds it's ultimate expression in the built environment we reveal.
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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 3:01 pm    Post subject: A Summary of a Few Ideas Now, some further developments. A few summary of some ideas we have been developing in conjunction with the Gateway to the Sky and also to the new transportation systems of the future, among other scientific developments we are progressing at Project Liquid Universe. These will be used with the STRUCTURES OF THE FUTURE to create a new way cities cities in space and will be incorporated into the structural gate to space. These will be used also as the energy sources for the floating space cities, so familiarity with basic notions is important to understand the systems, mechanics and energy sources of the future to use in our systems design. This provides the structure for multiple new generators, as well as an explanation for the circular shape of the craft that will connect to the new cities and new structural gates -->> Altering Energy States of Matter Magnetic Cancellation Theory By altering the energy state of matter that is in rotation around the nucleus of the energy source, and controlling the phases of the energy states, we can create directional momentums that produce propulsion. This, explained by the general behavior of complex contained systems of matter. We also produce a relative speed, which compared to static states of equilibrium, produces a "static state of inertia" that results in an incredible mass speed, with relation to the stationary masses in equilibrium. Thus in effect, we have mass moving at incredibly large speeds within the framework of the altered inertia equation, possible by altering these energy states of matter. The masses, in their points of reference, move at a reasonable speed within the framework of the perimeter of vision, as defined by their governing energy state. To external observers, moreover, the matter appears to be moving at an incredible large speed. This, possible by the temporal distortion of time, with relation to the "static states of matter". The normal condition of matter, in general systems of behavior, versus altered exceptional conditions of a limited amount of matter, produces a relative distortion in the space time continuum, thus altering the perceptions of space and time. This, together with the magnetic cancellation possible by generating new centers of equilibrium, produces unidirectional forces as defined by the governing internal magnetic fields of the bodies, subjected to the altering energy states, as applied to the greater rotating fluid of matter held in suspension around the nucleus. By basing our energy producing nucleus on the design of the atom, we can quantify this energy and control the exterior perimeters of bound energy, by fluctuations of energy in the core, producing a resulting fluctuation of the energy states in the perimeter bound matter. In this radial distribution, using the atom as a model, we have a means to distribute the fluctuating energy in multi directional arrangements. Thus, by bending the rotating energy along squeezed orbits, we can thus produce governing patterns of directional forces, thus creating a system for propulsion. By creating a controlled intense magnetic field, we can also control the re-arrangements of the contained energy in the matter, orienting it along the strands of energy pulses that we wish to govern the systems behavior. This allows the magnetic field to create uni directional bending forces capable of bending space along pre determined pathways, thus altering the magnetic field in the circumference of our pulsating fields of re-arranged energy states. These re-arrangements of energy states basically alter the equations of momentum, of energy, of matter, of time, of space, of gravity, allowing us to manipulate these at will and create uni directional forces that are used as a system of propulsion. The Gravitational Kinetics of Motion Gravitational fiels exert governing polar behavior along predetermined polar axis. By creating our uni directional forces, we can also pulse and bounce these magnetic currents along the pre existing terrestrial polar axis, and thus use this also as a form of magnetic propulsion. Thus, our vehicles follow movements in space similar to the movements of satellites, as defined by the polar directional bounce in our directed systems. The Gravitational Cancellation Theory The altered energy states of matter, as shown, alter various equations and behavior of complex energy systems. and gravity is one of them. Gravity can suffer the effect of neutralization, if the individual polar coordinates of the atoms are re aligned along new paths, in such a way that their re alignment is opposite to the gravitation force. The new re alignment allows their governing axis to be opposite to the governing gravitational access of the greater body of matter, thus creating a force of repulsion, similar to the magnetic re alignment which occurs in positively and negative charged magnets. Energy States and Their Relation to Renewable Energy Energy states provide a source of renewable energy, in that that predominant energy patterns are generated by the distortions of the interior flux of the strings of energy currents. This in effect produces a quantifiable source of energy flux, which can be used to in effect produce work and thus usable energy. In effect, we are liberating incredible amounts of energy by tiny minute distortion of energy states. This creates a very slow decay of matter, rather then, by contrast, the immediate decay as produced by nuclear fission. We thus have a slow, controlled way to liberate the energy as contained in matter, and to use it as a source of renewable energy. This energy, as projected along governing strings or paths of movement, creates a source of usable energy, in contrast to the dispersed energy of nuclear fission. No longer are we concerned with radio active isotopes, or nuclear carbon des integration into unstable energy. Small quantifiable distortions and fluxes of energy states, by producing a governing pattern of behavior, produce also a controllable energy flux that is thus used in a practical way as a source of renewable energy. The Model of an Atom as a Source of Renewable Energy The atom, in its nucleus, rotating electron arrangement, serves as the model for this pulsating energy flux machine. By controlling the boundary energy flux areas by distortions in the nucleus, we create governing patterns of behavior and can thus control our governing flow of multi directional energy and bend this along preferred paths of movement, thus creating controllable renewable energy. Project Liquid Universe A Universe of Possibilities Before Us Here and Now. By Mr. Nelson Project Coordinator Architect, Inventor, Scientist, Mechanic, Musician, Writer, Researcher, Poet, Artist, Visionary, Future Advocate.
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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 3:12 pm    Post subject: The New Language of Architecture THE NEW LANGUAGE OF ARCHITECTURE In architecture, many hold the term "concept" to be relevant to architecture. I personally do not. I prefer to think of the LANGUAGE of architecture, as I have demonstrated. So who is to decide at what point architecture is allowed to cross the line into metaphysics, philosophy? We are doing it all the time in adopting the idea "concept" in architecture, without even knowing it. Further, the Age of Enlightment brings man to the forefront, and man, rather then a supreme being, becomes the center of the universe and the center of himself. This humanism, is nothing but a religion of man as well. It is a cult of man, or in other words, a worship of man. So if many thus worship man, why cannot some worship another definition and believe this relationship of language of creation is related to the language we create as individuals? It has been shown that language is related to design. Therefore, the language of architecture is related to design. Therefore, the language of architecture functions well for to substitute the idea CONCEPT. And since language, as demonstrated, is an inherent part of genetic code, and genetic code is a language, and any language cannot happen by random mutations, or by spontaneous evolution, this shows the language of creation must be driven by creative individuals. Thus the idea of a creative intelligence and creative design behind everything that exists and that we create as architects. Further, as has been demonstrated, this intelligent design calls for a new LANGUAGE of architecture. Thus, the connection has been established to the many posts on this subject of a language, in this discussion on concept. There is thus a connection between language and design and thus the need for a LANGUAGE of architecture. The term concept is thus too vague. The ideas and the connection of ideas in architecture can be expressed in a linear way, which represents the architectural thought process. As shown, in this sequence of the Logistics of ARchiTectural ThougHt, each element gains particular relevancy, depending where it falls in the sequence -->> 1. A Problem. 2. A context. 3. A function. 4. The LANGUAGE of ARchiTectural ThougHt (Traditional word Concept). 5. A form. One must begin with this process in architecture, before arriving at a form. So we can see FFF is an oversimplification of a much greater hierarchy in architecture. It was merely a reactive cry in history. Now, we can see from this hierarchy, that Form truly follows function, but it is not a direct link this way. Only in the PROCESS. In the RESULT, form and function are united into one solution and work together. In the logistics of architectural thought, there is a need for separation of elements in order to reach a form. So the simplistic notion form follows function is exactly that. A reactionary simplistic view of a much greater process of architectural thought. Without this creative intelligent planning, there is no form to any function. Thus, no correspondence between form and function. Thus, the basis of intelligent design has been demonstrated. Thus, in intelligent design we allow humans and creative intelligence to design our environment and create it's own LANGUAGE of architecture. In this discussion, the connection between intelligent design and language has been established. This new language calls for a sensitive knowledge of the design process. It is not a simple "plucking of nice words" from a dictionary that will create the proper directive for a good design. It is an understanding of architecture, of the order of architectural thought, and how to relate the language to the problem at hand in a significant way. Otherwise, mere fancy words joined together will neither create an adequate language of architecture, nor, in the traditional sense, will they create a proper "concept", if that is your view of architecture. In any event, this new language of architecture is not diminished by professors or students who are ill applying fancy words to the design laboratory in such a way that nothing but a combination of fancy words result, with no clear relationship to the design process. This is absurd to even hear that some have attempted to do this. TOPICAL SUMMARY AND RELATIONSHIP BETWEEN THE SYSTEMS AND IDEAS I HAVE DEVELOPED: To start, let us illustrate the idea of Concept in Architecture, and how this can be substituted for the new LANGUAGE of architecture. For example, when we state a concept, in Niemeyer's vision of Brazilia as -->> To design a city in the shape of a jet, to create an overall integrated pattern, where the infill can be specified to specific wings of zoning areas, and where the image of the progress and advancement of man and technology can be translated to the art and architecture. Whatever we do, and whatever we say, as long as it is supported by reason, logic and a vocabulary of architectural thought, will be expressing what we are trying to do. We have elaborated a vocabulary that will guide every design decision. Now, if we simply use the image of a jet airplane, it will not carry the same weight as the VOCABULARY and LANGUAGE we have created, which leads to an infinite world of sculpture as architecture, to a city divided by zones as determined by the shape of the jet. A concept, on the other hand, could be expressed as the image of the whale. It would remain vague and thus not clear. If we simply use the image of a WHALE and say, this is my concept. This is not a true expression of the vocabulary of architecture. Now if we say -->> The idea is to use the shape of a whale to create a place that will convey the feeling of containment in a unique sculptural form and thus enable the users to experience the building in a non traditional shape that evokes feelings of being on the ocean, of floating on the waters. To explore the plastic sculptural possibilities of "X" technology to the extreme, in fulfillment of the program and user needs in terms of volume and space. So it can be seen the vocabulary of architecture is what should guide our design ideas, our intent, and express in a clear manner an overall architectural vision. It will thus guide every subsequent design decision. In the sequence of the Logistics of ARchiTectural ThougHt -->> 1. A Problem. 2. A context. 3. A function. 4. The LINGUISTICS of ARchiTectural ThougHt (Traditional word Concept). 5. A form. The element form will determine how one's concept is embodied into a technique, material. These can be defined by the context, if it so requires, or can be determined as the architect sees best fit. But the materials are not necessarily a part of the LINGUISTICS of architectural thought. They can be included in the statement of intent but most likely will not in most cases, as in the traditional CONCEPT. Now, one of practical mind would simply think linguistics with no materials does not make sense, but this is seeing it from an artisan point of view, one who is oriented towards the practical side of things, the skills and techniques to use. Architects must keep all this in mind, but this is can be defined all along the way, in the steps above, or determined in the FORM. So these decisions or statements need not necessarily come into the item "concept", or better, LANGUAGE we use to state the intent and directive for our design. Vocabulary alone does not define the Language of Architecture. The Language can carry and express the content, and the vocabulary expresses the words one chooses which can be related to architectural ideas. You asked what that new Language and Vocabulary should be, and it has been explained in the samples above. It is very simple to refer to our Language and Vocabulary and much more clear and direct then the abstract idea "concept", which has led to great confusion in the field of architecture. All we need to do is create our Language and Vocabulary of architecture and express it. There is no need for all this confusion on "concept". It is very simple, and has been explained above. CHAOS, ORDER, LANGUAGE AND INTELLIGENT CREATION There is order in chaos. It is one of replicating patterns, that do not create a design, but rather patterns of repetitive forms, or nice intricate unique unusual patterns that are a result of random combinations rather then a creative language. Order is not the same as design. It has not intent, no idea, no language. THE FOUR INGREDIENTS OF LANGUAGE -->> 1. Alphabet, 2. Grammar, 3. Meaning 4. Intent. In chaos, the four ingredients of language are not present. You only have an order of repeating patterns that keep creating a new order of repeating patterns of chaos, and that is it. There is no alphabet, no grammar, no meaning, no intent. In the DNA code, ALL THESE ELEMENTS ARE PRESENT. LANGUAGE ---->>> IDEA --->> --->> DESIGN -->> IMPLEMENTATION DNA HAS ALL THIS. RANDOM PATTERNS DO NOT. In summary -->> All languages come from a mind. DNA is a language, therefore it was designed, not a result of a random pattern. A mind designed DNA. Now with our architecture, this expresses the need for this new LANGUAGE of architecture, that can carry the code of our new forms in the vocabulary we devise that thus shapes our environment. So the imperative need to carefully shape our thinking, so that the language will produce the adequate forms. In this endeavor, we can thus create a new LANGUAGE for architecture, one that is guided by a creative process all along the way and by the intent of our architectural expressiveness. The topic above discussed the relationship between chaos, pattern and design. Now, there is a huge chasm between the world of chaos and the world of design. This can be understood by understanding the structure of DNA, and how this relates to LANGUAGE and also thus how we can create the new language of architecture by studying this model of DNA. As shown in this article -->> http://www.cosmicfingerprints.com/ifyoucanreadthis.htm "Is DNA more like stalactites and stalagmites and tornadoes and hurricanes and snowflakes and fractals? Or is DNA more like music, maps, computer programs and Chinese? It’s definitely in the second category. Absolutely there is no question about it. So what we have here is that between the world of chaos and patterns and the world of designs and information there is a huge chasm. A huge chasm. The pattern of DNA is not like a language. It is a language. By any formal definition of language it is a language. Chaos, fractals and natural processes do not produce languages or codes. Now usually if people try to disagree with this, this is where they try to disagree. I had a guy say “No, DNA isn’t a language or a code, it’s just a molecule.” So I looked up Watson and Crick who discovered DNA, they got the Nobel Prize for it. I surfed the internet and the first thing I found was James Watson’s Nobel prize acceptance speech. And the very first paragraph of his speech talks about the genetic code. Code, language, same thing. DNA is a language. The DNA molecule itself is an encoding decoding system. This is the core problem with a naturalistic philosophy of materialistic science: Matter and energy all by themselves cannot produce information. Norbert Weiner, who is considered the father of cybernetics, was a mathematician at MIT an absolutely brilliant guy and he made this statement. He said “Information is information, neither matter nor energy. Any materialism that fails to take account of this will not survive one day.” Matter, Energy and Information are three Distinct Entities Information cannot be created without intent. There are no examples of information that is created without intent. You have to have the dimension of intent or will, which is a property of a conscience mind, in order to have any kind information. Otherwise all you have is chaos. All you have is tornadoes and hurricanes and stalactites and stalagmites and snowflakes. But you do not have any kind of language whatsoever. So the problem with a materialistic philosophy or belief is there is no way to explain where the language of DNA came from. Because all codes, all languages, all encoding, decoding systems come from a mind. No exceptions. The essential distinction between pattern and design is language • Fundamental Property of all Designs: Idea precedes Implementation • Idea must be represented by language • All language comes from a mind The essential distinction betweens patterns and designs is language. Patterns don’t have languages, but designs do. So the fundamental property of all designs is that an idea precedes the implementation of the idea. The idea exists in a symbolic form before it’s physically built. An idea, in order to exist, has to be represented by a language. Even to have an idea in your mind you have to talk to yourself and have images in your mind of what you want to do before you do it. So we know this: • Ideas always precede implementation, always, no exceptions. • All languages come from a mind. No exceptions. • There are no languages that do not come from a mind. • So we know that DNA was designed. • A mind designed DNA, therefore a need for a religious explanation." This programming created the framework for intelligent evolution or adaptation of the species. A programed basis for ordered mutations. The ideas that preceded all language. The form behind all function. The reason behind all meaning. The intelligence before all matter. The language that creates the energy, that results in the light, the form, the matter, the codes, the genetic engineering, the language that makes up our universe. The need for establishing a LANGUAGE of architecture has been established. LANGUAGE, the basis of all design. CHAOS, ORDER, LANGUAGE AND INTELLIGENT CREATION There is order in chaos. It is one of replicating patterns, that do not create a design, but rather patterns of repetitive forms, or nice intricate unique unusual patterns that are a result of random combinations rather then a creative language. Order is not the same as design. It has not intent, no idea, no language. THE FOUR INGREDIENTS OF LANGUAGE -->> 1. Alphabet, 2. Grammar, 3. Meaning 4. Intent. In chaos, the four ingredients of language are not present. You only have an order of repeating patterns that keep creating a new order of repeating patterns of chaos, and that is it. There is no alphabet, no grammar, no meaning, no intent. In the DNA code, ALL THESE ELEMENTS ARE PRESENT. LANGUAGE ---->>> IDEA --->> --->> DESIGN -->> IMPLEMENTATION DNA HAS ALL THIS. RANDOM PATTERNS DO NOT. In summary -->> All languages come from a mind. DNA is a language, therefore it was designed, not a result of a random pattern. A mind designed DNA. Now with our architecture, this expresses the need for this new LANGUAGE of architecture, that can carry the code of our new forms in the vocabulary we devise that thus shapes our environment. So the imperative need to carefully shape our thinking, so that the language will produce the adequate forms. In this endeavor, we can thus create a new LANGUAGE for architecture, one that is guided by a creative process all along the way and by the intent of our architectural expressiveness. Humanistic philosophy and it's influence on architecture. The need for a new language free of historical chains. In our ideas of architecture, we frequently do not see how the human oriented philosophies and theories have influenced our design philosophy and ways of viewing architecture. In the Renaissance view of man, and the human ideal proportions, man and humanism, from that point on, become the governing philosophies guiding design. This lead to the application of humanistic ideas of philosophy and metaphysics to architecture, thus leading to our modern views of man and his relationship to the built environment. Man, seen as a functional machine, and nothing more then that, designs functional buildings that are functionally related to their form. There is no creative intelligence in creation behind anything in nature, under this humanistic thinking. Man is behind it all and that is it. Thus there was no more need for contemplation of the sublime, for an understanding of the spiritual values of man and their relationship to the built environment. Man, thus, becomes disconnected with the arts of the Ages, including Eastern philosophy and it's implications on architecture. A huge chasm is developed between the East and the West. This chasm continues until today, due to this humanizing force of the industrial revolution. Now even Leornardo studied paiting, architecture, technology, science, human anatomy, and many other things, so why can't we as architects, artists, scientists, among other things? http://www.wsu.edu:8080/~dee/REN/DAVINCI.HTM "Perhaps Da Vinci's greatest work was his notebooks on which he wrote his one and only book, The Painter , as well as a legion of notes on technology, science, human anatomy, architecture, as well as sketches of all these things." Metaphysics in Architecture Now, why is metaphysics even debated in architecture, as has been done in this topic on concept in architecture? One cannot have a philosophy of architecture, without this debate, so it seams. So metaphysics, philosophy, scientific theory, evolutionary theory, creationism, foundational structures, alternate energy sources, language of architecture, and a multitude of ideas that are being debated in the framework of concept, of form following function, are all thus relevant discussions, as they shape our architectural theory, to various extents. So our architecture gains a greater relevance to our deeper views on these issues. Thus metaphysics and philosophy are related to architecture, and this why we are spending so much time developing a discussion on the idea "concept" in architecture. Thus, religion, metaphysics, philosophy, scientific theory are all in a sense related at some point, especially when it comes to defining the origin of man and his relationship to the environment and world we live in, and thus the architecture we produce. HOW WE SUBSTITUTE THE TERM "CONCEPT" FOR THE NEW LANGUAGE OF ARCHITECTURE It can be said "concept" is like the children learning to ride a bicycle. They need it to understand the design process. Once they have learned to ride, they no longer need this and can ride simply with the NEW LANGUAGE OF ARCHITECTURE and by understanding the Logistics of Architectural Thought and the process of designing. Thus, simply by elaborating the proper language, this serves as the directive to the design process. Do you wish to remain as children dependent on the wheels? Last edited by usarender on Sun Jan 20, 2008 6:27 pm; edited 1 time in total
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usarender millennium club Joined: 01 May 2004 Posts: 1258 Location: San Diego, Ca	Posted: Sun Jan 20, 2008 3:18 pm    Post subject: Language, The Core of Sensible Imagination The Linguistics of architectural thought. Language is at the core of sensible imagination. If we can create a code of language, we in essence can create a world. Take the example of a writer of the series of fantasy stories. He creates a new language, a new code and thus creates a universe of thought that leads to concrete form. If we brake this down into it's relationship to science, we end up with -->> 1. Pre-existing eternal mystery, ultimate sublime pre-existing thought, the order of the universe, the pre-existing eternal force. This is contained in an intelligent spiritual being. This leads to -->> 2. Reason, thought, logic. This logic creates "LANGUAGE" 3. LANGUAGE gives birth to energy, which gives birth to encoding of energy into FORM. 4. This form produces a substance of a SHAPE. 5. This shape can be described as a language of codes that gave birth to this shape. So all the other elements fall somewhere in the spectrum. We have all the building blocks in the universe. An intelligent being - related to THOUGHT, LANGUAGE, ENERGY, FORM Thought - gives birth to LANGUAGE. Language creates energy -->> Energy - the building block of time and matter. Time - a equation of the motion of energy. We can see light is actually a form of energy. So if we have E=MC2 Energy equals Mass times the speed of light square. We are in essence saying energy equals mass times the time it takes energy to transverse space, which is the building block of mass. It would be better to say Energy = Mass x the time it takes for energy to transverse the space between the eternal and the spatial limitation of it's containment. E = M(TimeofTransversalOverContainedSpace). or E = M (T of transversal of the energy over the limited space) Thus, when we release atomic energy, our energy will be a function of the limited mass in relation to the time of transversal of this mass over space until it transforms itself completely into energy). Thus, energy is in a sense eternal if mass is present in some form. Without energy we do not have time. Time is due to the movement of energy in space. So in essence we have Time = energy times speed of the speed of light divided by the Mass of the Universe T = Ex(C/M) Or, the speed of light distributed over the mass of the universe produces time. So, from this, we have -->> Ex(C/M) = T We know the speed of light is almost infinite. Mass is finite. Energy is finite. So in this equation, only time is infinite, as long as mass and energy are present. When mass and energy cease, time would cease. But in reality, energy never ceases, so therefore time never ceases. It only re-constitutes itself into matter. Thus, we have found a relationship between time, energy and God. All these 3 seem eternal. God is before time, he is before energy, he is eternal and gave birth to energy and time, under this model. So we can see if we have Time, combined with Energy, we have an almost infinite speed in which this energy can transpose itself over the mass that contains it. Time is possible by this movement of energy. So we must create a new formula -->> E = T _______ C/M Matter - an equation of the motion of energy and time. Reformulated, we have E = TM/C In this formulation, time is an almost infinitely large number. It is a universal constant. It is a measure of the rate engergy released from a mass transposes or distributes itself over space when the mass reaches the velocity of light. It can be expressed as T = EC/M The greater the Mass, the greater the energy released. The division of Energy to mass will always produce a constant value, as energy or mass moves at the speed of light. Thus, if we can change the energy state of a mass, we can alter the universal constant of time! Voyla ! We have reached a new discovery ! Similar to Einsteins formulation, we could alter his formula and invert the value C, if we consider T to be a universal constant almost equal to the speed of light to read -->> Thus, we have another possibility --->>> or E = TMC or T = E/MC or C = E/TM Thus a temporal distortion of time can be created by changing the energy state of matter or by changing the mass as contained in a fix energy body. So if we can keep the energy in the body constant and change is mass, we can alter time or the perception of time. If we alter this value T for a universal constant U, we end up with -->>> or E=UMC where U = Universal force of equilibrium as defined by energy in movement. Almost equal in value to the speed of light. Where E = Energy T= Time C = Speed of light M = Mass In this equation, energy is equal to Time( almost unlimited) divided by the speed of light(almost unlimited), distributed over a mass. If we have two infinite numbers divided by each other, the greater infinite number will win. All these elements in the equation must either be finite, or some are infinite. We cannot say time is unlimited, as it is related to energy being distributed over mass. But it can be a universal constant of nearly unlimited value. Mass and energy are not unlimited. Only the creative force is unlimited. So in essence, which is greater in infinite value, time or the speed of light ? At first glance, we cannot know. Time could be greater. If time is greater then the speed of light distributed over a mass, then we can see we have energy not simply canceling t