Throughout its existence, the hero has fought for Anima, as we see in fairy tales, and later for Freedom, as we see in historical stories.

However, the functioning system of today’s principle of freedom is different.

Freedom vs. Fate

It’s easy to fall into the trap and assume that the opposite of freedom is an empty lack of freedom or imprisonment.

“The soul is free when it is educated.” – M. Eckhart, Goethe

On the opposite side of freedom lies choice. The Choice is what ends freedom and reduces it to actualization. Freedom is potential (numerous) choices, and Fate (non-freedom) is one choice.

We make this choice, or the external makes the choice for us. The illusion is of the individual assuming otherwise.

The drawing of the simplest mandala is the most illustrative example of the relationship between freedom and fate.

Mandala 1 – A circle describing a point. The circle is an infinite series of points (choices), or an exponent of freedom, while the point in the middle represents the “singularity” of fate, or as Jung says, the Center.

Ref: Jung’s autobiographical sketches of daily Mandalas

Mandala 2 – A circle cut in half (into two semicircles). In this mandala, the separation of the whole by the Center line is shown. Two sets, thesis and antithesis. This mandala in its simplest interpretation represents three points, connected by a straight line (alignment of three points). Thesis, Antithesis, and the Relation between. The point of relation (Center) is an exponent of the Self and the basic reference point based on which thesis and antithesis are aligned (recognized). This Mandala is the first step in the coordinate determination of the Self and the first step towards Fate-choice.

Mandala 3 – A circle describing a point, and connected by a spiral. We all want to reach the Center, and we reach it through “freedoms”. Freedoms decrease, or “purify”, in cycles, and gravitate towards the Center. The Center is the Goal and the final step.

Freedoms push, the Center pulls. Ref: Terence McKenna and the theory of time (novum).

Maturity of consciousness is needed for Fate.

Infantile awareness, as the predominant collective neurosis, complicates this form of awareness.

In a Biblical sense, the Devil is dressed in “new” garments and presents himself as the most beautiful angel. He presents himself as freedom.

Comment:

Free will and multiverse movies

We can often interpret movies as compensatory manifestations of our collective (or personal) shortcomings. The era of superhero movies portrays a picture of individual impotence. However, multiverse movies provide a more interesting compensation. Compensation for the lack of free will. By depicting endless arrays of potential scenarios and possible realities, they relativize the importance of singularity behind phenomena but provide the comfort of indefiniteness (freedom).

Individual state – How Man is greater than the Cosmos

The collective existence of indefiniteness is permissible to the Cosmos, which measures its story in billions of years, and its development has practically just begun, however, this is not a good position for the individual.

Our insignificance in years, on the other hand, offers us a solution.

Every story consists of three constituents: Beginning, Middle, and End. These constituents make up the story of the Cosmos as much as they make up the story of a single Human. Although our experience of the Cosmos is of something almost Infinite, although we feel practically frightened by this magnitude, there exists in us another feeling of greatness standing as opposition to this fear. That greatness is the greatness of hypothetical inner infinity, which is as great as the external infinity, only its miniature representation.

Both infinities stand in a parallel, balanced relationship. However, while the external Infinity will need hundreds of billions of years potentially to reach the “Middle” of its Story, inner Infinity has the advantage of accelerated development.

Wrong unit of measurement (reference)

“So the World works, so will I,” is the basic fallacy. The “World” has time. The World is part of the Cosmic narrative.

The entirety of our story (beginning – middle – end) is written and played in about 100 years. All chapters, all transformations, all conceptualizations, all actualizations, all archetypal representations.

The differences between the beginning and the middle, as well as the middle and the end, are evident. These are differences between the young and the mature, the mature and the wise. It is also evident that the world is still in the infancy of its teenage years. This child is not an ethical-aesthetic norm, but merely a reference to the stage of development. A reference to the collective antithesis, which is at the beginning of development and will need much more time to mature.

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1. Theory

Chapter 1.1: Introduction to Architecture as Language

The Role of Architecture in Shaping Our Aesthetic Judgment

1.1.1 Architecture, like language, has a powerful ability to communicate without the use of words, or rather, through the use of its own vocabulary. Through nuances, rhythms, and contrasts, architecture establishes a dialogue among elements that can be interpreted like a story.

1.1.2 Each spatial element has its own “voice,” whether it’s a pillar supporting a wall, a window allowing light, or doors inviting entry. In this dialogue, architecture shapes our perception of the environment, creating an ambience that can be inspiring, mystical, or even enigmatic.

1.1.3 Through form, context, and function, architecture speaks the language of symbols. Each element carries deep semantics, from traditional symbols to specific references. Through this symbolism, architecture becomes more than a physical phenomenon—it becomes a narrative connected to collective experience.

1.1.4 The fundamental role of architecture in shaping the environment makes it a key language (tool), through which we can transcend the mundanity of everyday life and establish a relationship with something greater. “Man is a city in miniature” B.B. These terms speak with a silent language, yet a powerful image, of architecture as an intellectual construct with allegorical values and moral messages.

1.1.5 Considering its mode of participation, architecture constructs internal aesthetic norms within us—introtectures. Internal laws by which we determine relationships of completion-incompletion, balance-load, open-closed, etc. These aesthetic laws extend deep into our subconscious, hence the constant presence of houses, squares, and magnificent buildings in our dreams. In dream analyses, Jung often compares the house to the psyche, showing the importance of architecture through which the subconscious communicates or self-explains. Ultimately (even through dreams), architecture is an objective reference to human participation in the world of nature (both conscious and subconscious), making it one of the fundamental human extensions in the history of civilization.

Chapter 1.2: Symbolism of Opposition in Architecture

1.2.1 In architecture, the symbolism of opposition represents a language that transcends the physical characteristics of space and ventures into the realm of abstract meaning. Oppositions, such as open-closed, fluid-static, or light-dark, become key elements of architectural grammar. This (tripartite) structure of dual terms (thesis – relation – antithesis) portrays the phenomenon in its entirety.

1.2.2 The presence of oppositions in architectural language is not merely a matter of grammatical logic but also of profound semantic richness. For instance, the contrast between broken lines and straight ones can symbolize the relationship between chaos and order. These oppositions communicate with the viewer on an intellectual level by assigning concrete meanings to concrete forms, thus creating new terms recognized later as sentences or linear narratives.

1.2.3 The symbolism of opposition is not strictly confined to visual antonyms. These contrasting sets can be viewed as conceptual ideas such as balance, opposition, and diversity. Through understanding this symbolism, architects become storytellers who surpass material reality and build bridges to universal principles that shape our understanding of aesthetics and ethics.

Chapter 1.3: Architecture and Psychology of Space

1.3.1 The effect of space on the human psychological state is de facto evident. Depending on specific needs, space can stimulate productivity, relaxation, interaction, etc. For example, a space with plenty of natural light and open vistas often evokes a sense of expansiveness and freedom, while well-designed enclosed spaces can provide a feeling of security and intimacy. Both fulfil the task of a “study”, but depending on the preferences and character of the user, the choice is radically different.

1.3.2 The psychology of space deals with the concepts of privacy and social interaction. Like private and public personas, the balance between openness and closedness is a significant factor in creating thoughtful environments. The balance between opposing sides of the same set is a relationship that the architect strives for. Architecture becomes a formative medium that responds to our mental needs, inviting us to connect with space on a level that transcends physical dimensions and seeks overlaps with metaphysical laws.

1.3.3 Architecture and the psychology of space are closely intertwined, making our homes, workplaces, and public spaces reflect our emotional contents, our historicity, our tendencies, human creativity, and ultimately divine principles. As Jung also says, “Consciousness is historical.” Through a versatile approach that takes into account psychological aspects, architects become concept-builders of spaces that not only meet functional requirements but also establish reference frameworks through which the psyche moves and individualizes daily.

To be continued…

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Is there a connection between the development of man and the creation of architecture? We believe so, and we will outline our argument. We will also explain why many architectural works are incomplete and lack some of the fundamental stages of development.

Collective Unconscious – First Stage of Development

The World of Archetypes – The World of Platonic Ideas: This is the starting point. The prevailing psychological theory is that a baby’s mind (psyche) is made up entirely of the collective unconscious, and its ego is not yet formed. This means that the filter of semantics does not exist yet. Everything is seen as a unified whole, rather than as separate entities (context – starting point). However, as Jung says, “differentiation is creation,” and according to the natural progression of human life, symbols begin to gradually form. Just as with people, the design of any building starts from this collective whole – the Platonic-Euclidean world – from which simple forms are distilled to become the building blocks of future compositions. These forms are pure and unaffected by ego projections; they are recognized through the universal qualities of Platonic ideas – Triangle, Rectangle, and Circle.

Persona 1.0 – Duality – Second Stage of Development – Deconstruction

The will is formed, and personal perspectives take shape. The once indivisible whole becomes dualistic. There is one “I” that is made up of multiple internal elements, while the external “many” has a strong philosophical connection to the concept of unity.

Architecture exists in two dimensions: horizontal and vertical. It also has two ontological voids: doors and windows. These aesthetic choices make up the final desired result. However, since they exist as isolated individual elements at this stage, their combined relationship to the contextual discourse is not yet visible.

Persona 2.0 – Shadow – Parallel Second Stage of Development – Integration

The antithesis and negation of the principle.

Anti-examples in architecture and how to use them

“And those who want to remain pure must understand that they must cleanse themselves in dirty water” F. Nietzsche.

What does this sentence mean?

Our initial understanding is that “dirtying” oneself is a necessary component of growth and maturity (cleansing). To lead a proper life, we must be open to both dirty water and washing in it. Those who seek individuation must also be ready for conflict.

“Cleansing in dirty water” refers to the concept of the anti-example. With this non-example, Nietzsche introduces a broader ethical framework that is different from dualistic ethics (good-bad). Instead, it is a three-fold framework (good-not-good-whole).

We cleanse ourselves in dirty water, not pollute, as Nietzsche’s image shows. Nietzsche was skilled in using multiple meanings in linguistic-philosophical terms. Cleansing through conflict is a recent, metaphorical approach.

Summary of the quote:

In our world, everything is imbued with meaning. This meaning encompasses not only the positive examples of a phenomenon but also its negative counterpart. These two polarities exist in a singularity, forming two sets and a relative relationship. The concept of negation is therefore one of three ontological phenomena.

Although it can be challenging, it is possible to master the art of following positive examples. A moral compass is something we all strive for, but learning from negative examples is more difficult. These examples are not easily defined and are often reduced to our own interpretation and some form of representation, such as an image, sound, or language.

The negative example is the opposite of the positive example, but capturing this opposition can be difficult as it is in its earliest manifestation, encompassing everything except the positive example in the entire universe. This leads to a broad range of different negative examples.

Based on the context and negative examples surrounding the referenced positive example, our hero derives a “lesson.” This lesson cannot be obtained from simply studying the positive example, but instead arises from the negative examples.

Given that negative examples are prevalent in our world, it is important for a wise person to learn how to use them, rather than avoiding them, to gain knowledge. These negative examples, interpreted and located on the inside of infinity, are necessary building blocks for the intro-structure of our understanding.

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1. Introduction to the Eidetic Dictionary and architecture:

The Eidetic Dictionary is a unique tool used in the field of architecture to understand, analyze and recreate the underlying concepts of different designs. The Eidetic Dictionary is based on the idea that geometric shapes and forms can be used to allegorically represent abstract concepts and ideas. This means that the Eidetic Dictionary uses a system of geometric symbols and relationships to encode the meaning of different concepts, allowing architects to understand and interpret the underlying ideas behind their designs.

The Eidetic Dictionary is built around the concept of oppositions, which are pairs of geometric shapes or forms that are in some way opposite or complementary. For example, one opposition might be a circle and a square, which are opposite in the sense that they have different shapes and proportions. Another opposition might be a straight line and a curvy line, which are opposite in the sense that they have different orientations and forms. By understanding the relationships between different oppositions, architects can gain a deeper understanding of the concepts that underlie their designs.

The Eidetic Dictionary is an important tool for architects because it helps them to think more deeply about the concepts that shape their designs and to create more meaningful and effective architectural solutions. By using the Eidetic Dictionary to encode the underlying concepts of their designs, architects can create more coherent and harmonious architectural projects that are better able to meet the needs of the clients. Additionally, the Eidetic Dictionary can help architects to better understand the designs of other architects and to analyze the underlying concepts of different architectural styles and periods.

One interesting aspect of the Eidetic Dictionary is its similarity to Plato’s theory of Forms. In his philosophy, Plato argued that there exists a realm of eternal and perfect Forms, which are the true essence of all things. He believed that these Forms were the ultimate reality and that the material world was simply a shadow or imitation of the world of Forms. The Eidetic Dictionary can be seen as a way of understanding the underlying Forms or concepts that shape our built environment, and of using these Forms to design and interpret architecture. In this sense, the Eidetic Dictionary can be seen as a modern-day version of Plato’s theory of Forms, applied to the field of design.

Overall, the Eidetic Dictionary is a powerful tool that can help architects to design more meaningful and effective architectural projects, and to better understand the underlying concepts and ideas that shape the built environment. It is a valuable resource for anyone interested in the field of design and can help to deepen our understanding and appreciation of the normative aesthetical standard that surrounds us.

2. Understanding the concept of oppositions in the Eidetic Dictionary:

The Eidetic Dictionary is a unique system of design and interpretation in architecture that utilizes the mechanism of reducing complex ideas and concepts to simpler geometric shapes and forms. This approach allows for the creation of a visual language that can represent complex ideas and concepts through the use of geometric shapes and forms.

Oppositions are a central aspect of the Eidetic Dictionary, as they help to define and understand the geometric shapes and forms used to represent complex ideas. Oppositions refer to the relationships between different concepts, and they create meaning and context within the dictionary. In this system, oppositions can be represented by a variety of geometric shapes, such as the square and the circle, which act as common unifiers and exponents of the chosen pair.

One common example of opposition in the Eidetic Dictionary is the opposition between masculinity and femininity, which can be represented by the geometric shapes of a square and a circle, respectively. The square is often associated with masculinity due to its straight lines and angles, while the circle is often associated with femininity due to its soft, curved lines. This opposition has a long history in Western culture and can be traced back to the ancient Greeks, who used these shapes to represent male and female deities. The philosopher Plato also believed that the geometric shapes of a square and a circle represented opposing concepts, with the circle representing the perfect, eternal, and unchanging, and the square representing the imperfect, temporal, and changing.

Another common opposition in the Eidetic Dictionary is the opposition between logic and emotion, which can also be represented by the geometric shapes of a square and a circle. The square is often associated with logic and reason due to its structured and orderly appearance, while the circle is often associated with emotion and feeling due to its fluid and organic nature. This “opposition idea” has roots in classical philosophy and can be found in the works of many philosophers and artists.

Other oppositions that can be represented in the Eidetic Dictionary include major and minor, hard and soft, plan and goal, movement and stillness, element and whole, and fluidity and rigidity. All of these oppositions can be represented visually through the use of geometric shapes, and they can be used to represent a wide range of complex ideas and concepts in the design and interpretation process in architecture. By understanding the concept of oppositions in the Eidetic Dictionary, architects and designers can create a visual language that can effectively communicate complex ideas and concepts through the use of geometric shapes and forms.

3. Deriving concepts and creating sentences in the Eidetic Dictionary

One of the key aspects of the Eidetic Dictionary is the ability to intuitively derive concepts from geometric shapes and forms. This process involves analyzing the shapes and forms in relation to the oppositions they represent, such as masculinity and femininity, logic and emotion, or movement and stillness. By understanding the oppositions represented by the shapes and forms, architects and designers can gain insight into the underlying concepts and ideas that the design is trying to communicate.

For example, a small circle inscribed within a larger square might represent the feminine principle within the masculine principle. Similarly, a small square inscribed within a larger circle might represent the masculine principle within the feminine principle. Alternatively, if a straight line (representation of logic in opposition to a curved “fluid” line that is a representation of emotion) is pushing a circle, or a square is pushing a circle, this could be a suggestion of the logic influencing the emotion. On the other hand, fluid lines that push a straight line, or small circles that push a large square, could represent the influence of emotion on logic.

In addition to understanding the oppositions represented by geometric shapes and forms, architects and designers can also use the grammar of the Eidetic Dictionary to create sentences that represent complex ideas and concepts. The grammar of the Eidetic Dictionary is based on the idea that the relationships between shapes and forms can be used to create more complex sentences that represent more complex ideas and concepts.

To create sentences using the Eidetic Dictionary, architects and designers can start by selecting a pair of geometric shapes or forms that represent an opposition, such as a square and a circle. They can then analyze the relationship between the shapes and forms and determine how they can be combined to create a sentence that represents a complex idea or concept. For example, a sentence that combines a square and a circle might represent the opposition (the conflict) between logic and emotion. However, if the sentence encapsulates the relation between the oppositions, it can be a representation of the “whole”. Thesis – Relation – Antithesis.

In Hindu philosophy, the concept of duality is central to the understanding of the world and the self. The yin and yang symbol in Taoism represents the interconnectedness of opposing forces and the belief that one cannot exist without the other. Similarly, the Eidetic Dictionary uses oppositions to represent the interconnectedness of different concepts and ideas and the belief that one cannot be fully understood without considering its relationship to its opposite.

4. Advanced techniques in the Eidetic Dictionary and architecture

The Eidetic Dictionary is a powerful tool for understanding the underlying concepts and ideas behind architectural designs. However, it is also a complex and nuanced system, and there are advanced techniques that can be used to further unlock its potential.

One advanced technique in the Eidetic Dictionary is the use of allegory to create more complex and nuanced representations of ideas and concepts. Allegory is a literary device that uses symbols to represent abstract concepts or ideas, and it can be used in the Eidetic Dictionary to create more nuanced and multi-layered meanings.

For example, an architect could use the geometric shape of a spiral to represent the concept of transformation or change. Individuation and rhythmical circular repetitions of events are also portrayed by the same symbol. By using the spiral as a symbol in the Eidetic Dictionary, the architect could create a more complex allegory that represents the transformative nature of the design.

Another advanced technique in the Eidetic Dictionary is the use of rhythm and repetition to create a sense of overall theme. Rhythm and repetition can be achieved through the use of geometric shapes and forms that are repeated in a regular pattern, creating a sense of order and unity within the design. These echo visuals enhance the initial value that goes throughout the design.

For example, an architect could use the geometric shape of a tree to represent the concept of growth and sustainability, due to its ability to regenerate and adapt to its environment. By repeating the tree shape throughout the design, the architect could create a sense of unity and coherence within the overall design – the Forest effect – a new aesthetical ornament.

Overall, the use of advanced techniques in the Eidetic Dictionary can help architects and designers to create more complex and nuanced representations of ideas and concepts within their designs. By using allegory and rhythm and repetition, architects and designers can create designs that are rich in meaning and symbolism, communicating complex ideas and concepts in a visually striking and engaging way. Just be creative with your natural language, and the sky is the limit.

5. Case Studies

The concept of oppositions and their representation through geometric shapes and forms is not unique to the Eidetic Dictionary. Many philosophers and linguists have explored the idea that oppositions are a fundamental part of human thought and language. For example, the linguist Roman Jakobson argued that oppositions play a central role in the structure of language and communication and that they are the building blocks of meaning. The philosopher Jacques Derrida also explored the concept of oppositions in his work on deconstruction. He argued that all forms are incomplete and open to various interpretations. According to Derrida, architectural forms can also be treated as “differentials,” meaning they have the potential to differentiate themselves from other forms and change over time.

In addition to these philosophical and linguistic references, there are also numerous examples from art and literature that demonstrate the use of oppositions and geometric shapes to convey meaning. The poet Wallace Stevens, for example, often used geometric shapes and forms in his poetry to explore the relationship between the natural world and the human mind. Similarly, the artist Piet Mondrian used geometric shapes and forms in his abstract paintings to explore the relationship between form and meaning.

Overall, the use of oppositions and geometric shapes and forms to represent complex ideas and concepts is a longstanding tradition in many fields, and the Eidetic Dictionary is just one example of this trend. The ability to translate from one language to another, such as from a semantic language to a visual language, is crucial for creative expression. By understanding the concept of oppositions and the ways in which they can be represented through geometric shapes and forms, we can gain a deeper understanding of the world and the way we think and communicate.

6. Resources for Further Study

“The Red Book” is a book written by Carl Jung, a Swiss psychiatrist and psychoanalyst, between 1914 and 1930. It is a record of Jung’s psychological and spiritual development and contains his ideas on the nature of the psyche. It was not published until 2009, many years after Jung’s death. It is considered a central work in Jungian psychology and is often studied by scholars and practitioners of Jungian analysis.

“Modern Art 1770-1970-2000” is a renowned book written by two leading Italian art historians, Giulio Carlo Argan and Aquile Bonito Oliva. It covers modern art’s chronological and artistic development and comprises two autonomous studies with different methodologies and ideological approaches.

“History of Beauty” is a book written by Umberto Eco. The book is a reflection on the cultural history of the concept of beauty, its evolution and its significance, as well as its historical and cultural meanings. The author analyzes the different forms of beauty that have been valued and developed through different historical periods, cultures, and artistic movements.

“A Theory of Semiotics” is a seminal work written by Umberto Eco, a prominent semiotician, philosopher and literary critic. It is considered a classic in the field of semiotics, providing a comprehensive and systematic approach to the study of signs and symbols and their role in communication. The book is an important resource for those interested in understanding the theory and practice of semiotics.

“Syntactic Structures” is a book written by Noam Chomsky, an American linguist, philosopher, historian, social critic, and political activist. The book lays the foundation for the study of transformational-generative grammar, which Chomsky developed in the 1950s and 1960s.

“Gradoslovar” is a book written by Bogdan Bogdanović, a Serbian architect, town planner and theoretician. The book is written in a Dictionary style, with each entry providing a definition, explanation, and vocabulary illustrations of architectural symbols and motifs. Overall, it is a very informative and insightful book for those who are interested in the symbolic meaning of architecture.

“The Republic” is a work by the Greek philosopher Plato, it’s one of his most famous and widely read books. It is a political dialogue in which Plato presents a vision of an ideal society ruled by philosopher-kings. The book is divided into 10 books, and in it, Plato considers the nature of justice and the ideal structure of the state.

“Timaeus” is another famous book written by Plato, it is a dialogue between Socrates, Timaeus of Locri, and Critias. In this book, Timaeus presents a cosmogony or account of the origins of the universe. The book also covers the nature of time and space, the nature of matter, the nature of the soul and the relationship between the soul and the body.

Overall, there are numerous resources available for those interested in the use of geometry in architecture. Whether you are an architect, designer, or simply someone who is interested in the intersection of architecture, psychology, and literature, these resources can provide valuable insights into the ways in which geometry can be used to create symbolic and complex allegories in architecture.

7. Conclusion

In conclusion, the Eidetic Dictionary is a tool for architects and designers to communicate complex ideas and concepts through the use of geometric shapes and forms. By analyzing the shapes and forms in relation to the oppositions they represent and understanding the grammar of the dictionary, architects and designers can create highly nuanced and sophisticated designs that are rich in meaning and symbolism.

In addition to the basic techniques of the Eidetic Dictionary, there are also advanced techniques that allow for the creation of even more complex and sophisticated designs. These advanced techniques include the use of archetypes, geometrical semiotics, and the concept of “differentials” to imbue buildings with character and personality.

The use of the Eidetic Dictionary and a deeper understanding of the psychological and symbolic dimensions of architecture can greatly enhance the design process and create truly impactful and memorable buildings. As such, it is important for architects and designers to continue to study and explore these concepts in order to push the boundaries of what is possible in the field of architecture. Overall, the study of the Eidetic Dictionary and its applications in architecture offers a rewarding field of inquiry that has the potential to greatly enrich our built environment and the human experience.

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The following text is just one of many that deals with symbols and exponents of universal principles in the human pattern. It can be considered an ethic-aesthetic-analogue to other examples dealing with this same theme. However, for aesthetical reasons, we have chosen the perspective of the Samurai.

Introduction

In this paper, we will dive into the mysterious world of symbolic architecture, specifically as it pertains to the principles of Bushido, the code of conduct for samurai warriors in Japan. We will explore how these principles, such as honour, courage, loyalty, and respect, are reflected in the design and symbolism of various buildings in Japan, including temples, castles, and residential homes. We will also delve into the role of symbolic architecture in reminding us of these values in our daily lives, and how the presence of buildings that embody these values may serve as a constant reminder of these principles.

So, if you’re feeling lost and aimless, perhaps all you need is a good, old-fashioned building to remind you of your cultural values and give your life purpose.

The symbolism of Bushido in architectural design

In Bushido gates and walls serve as powerful symbols of the dichotomy between the physical realm and the spiritual world. The act of passing through a gate represents the transition from the mundane, secular world to the sacred space of the samurai’s abode and place of training. The walls, in contrast, symbolize the boundaries separating the samurai from the external world, embodying the samurai’s steadfast commitment to duty and adherence to the defined code of conduct (definitions) that governs their actions.

Roofs may also be designed to symbolize protection and strength, but also growth. It symbolizes the samurai’s duty to protect and defend their lord, family, and community. The roof, strength, is also a metaphor for the samurai’s role as a leader of the people (ref: many people under one roof). On one hand, the roof may be built with steep angles to help shed rain and snow, on the other, this design may symbolically denote stepwise growth.

In addition, the layout of these buildings may be symbolic of the values of universal grammar. For example, the placement of certain rooms or features within a temple or castle may be chosen to reflect the importance of these values. A courtyard or garden may be located in a central location within the building, to symbolize the importance of nature and the natural world. This courtyard or garden may also contain elements such as water features or plants that represent specific values.

In Japanese architecture, the use of certain colours, materials, and shapes is believed to represent the principles of Bushido in residential homes. Certain colours may be associated with specific values, such as the use of red to represent courage or the use of white to represent purity. Shapes may also be used symbolically in the design of a home. The use of circular shapes may symbolize unity and harmony, while angular shapes may represent strength and stability.

Bushido in daily life

The role of symbolic architecture in reminding us of Bushido values in daily life can be seen in the way that buildings and structures that incorporate these values serve as a constant reminder of these principles to those who visit or reside in them. This may be particularly true for buildings such as temples or castles, which may be visited by many people on a regular basis and are often seen as important cultural landmarks exactly due to the fact that they are rare, and you have to walk the “path” to go and see them. All of this elaborate process is needed to establish the significance of the object. (ref: Herophany- Mircea Eliade)

Aesthetics of Complicated Sentences – Movement

“Movement is life” – Leonardo da Vinci

The Japanese tea ceremony showcases the principles of minimalism and efficiency through the use of the “minimum necessary number” of movements required to complete the ritual. This minimalism in motion can be perceived as aesthetically pleasing, as it demonstrates logic and economy in action. In fact, this concept of optimal efficiency can be extended to other areas, such as technology. For example, newer processors that use fewer resources can be considered more aesthetically pleasing than older models that consume more power.

This idea, of achieving perfection in everyday actions, aligns with the philosophy of Bushido perfectly. The tea ceremony, with its emphasis on minimal and efficient movement, can be seen as a prime example of this pursuit of excellence in a mundane task. Ultimately, the goal of Bushido is to embody perfection in one’s actions, and the concept of minimal movement in the tea ceremony serves as a symbolic means (image) to achieve this ideal.

Bushido as a guiding philosophy for Architects

Bushido, the ancient Japanese code of conduct for warriors, has long been revered for its emphasis on honour, courage, and self-discipline. These virtues have been revered by cultures around the world, from the teachings of Confucius in ancient China to the wisdom of Lao Tzu and the philosophy of Zen Buddhism. In a modern world where success is often measured by material wealth and power, the timeless principles of Bushido stand out as a beacon of integrity and purpose.

Many architects and design professionals have embraced Bushido as a guiding philosophy for their careers, finding that its principles help them to stay focused and true to their values in a fast-paced industry. By upholding the virtue of honour, these modern-day samurai strive to be truthful and honest in their work, taking responsibility for their actions and upholding the standards and values of their profession.

The virtue of courage is essential in architectural practice, as it requires the ability to take risks and make difficult decisions. This might involve designing a building that pushes the boundaries of what is traditionally accepted. It also requires the courage to stand up for what you believe in and to speak your mind, even if it means going against the grain – Lao Tzu.

Self-discipline is another key principle of Bushido that can be applied to architectural practice. This involves being diligent and dedicated in your work and striving for excellence in everything you do. It also means being disciplined in your thinking and decision-making, and being able to stay focused and on track even when faced with challenges or setbacks – the importance of self-cultivation and the pursuit of excellence – Confucius.

Conclusion

The principles of Bushido offer a timeless guide for architects and design professionals navigating the complexities of modern society. From the virtue of honour, which calls for honesty and truthfulness in one’s work, to the importance of self-discipline, which requires diligence and dedication to excellence, these ancient teachings provide a compass for those seeking to stay true to their values. In a world where the pursuit of material wealth and power can often overshadow the importance of integrity and purpose, the principles of Bushido offer a refreshing alternative, serving as a guiding light for architects and design professionals seeking to uphold the standards and virtues of their profession.

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Architecture is a living symbol. A symbol built from the memory of the ancestral cave we come from, and the fractal edifice we aspire to. In the interspace of history and the future, memory and anticipation, reality and fantasy, the architectural symbol is the imago of the process ego that strives for the absolute. In this sense, architecture can be seen as a manifestation of the “eternal return,” the idea that history repeats itself and that the present is always connected to the past (Nietzsche).

Architecture is an extension of the image of man, ergo an extension of the image of life. Architecture is not just a physical structure, but a reflection of the present and a manifestation of historical knowledge. It has the power to create harmony between the past and present and to serve as a place where one can recognize themselves.

Ideal, as an image, is a formative tool, not an instance on the path of individuation. Architecture mediates between opposing extremes by negotiating the tension between practical needs and guiding ideals. It connects the physical and spiritual, the material and intangible, functioning as a form of “dialectical synthesis,” reconciling opposing forces and resolving contradictions (Hegel). The architect Louis Kahn famously said, “A great building must begin with the unmeasurable, must go through measurable means when it is designed and in the end must be unmeasurable”

In conclusion, architecture describes and defines the world in which we live, by creating physical manifestos of our ideals and dreams. It allows us to build a world reflecting who we are and what we aspire to be. As a mirror of “self-realization”, it is a vital part of the individuation process, helping us define and express our unique identities and values. Jean-Paul Sartre observed, “Man is nothing else but that which he makes of himself”

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Symbolism in architecture is a way for designers to convey higher language through the use of visual elements, motifs, and a better understanding of ontological architectural anatomy. It is a powerful tool that can help to create buildings that are meaningful and reflective of their cultural context and inner connotations.

Symbolic imagery – Icons, figures, ideograms, totems etc. can all be used to represent recognizable ideas within a new discourse – new composition. However, as the complexity of our civilization has evolved, all of these “concrete” images have evolved into more abstract ones. As we developed microscopes and telescopes and looked into the micro and macro world, we are evolving back towards Plato’s original forms and geometrical shapes – the world of Ideas. As we progressed with Carl Jung, all of these Temples, houses and towers, are denoted as archetypal representations of our internal collective conscience. Singularity manifests as multiplicity.

Colours can have varying significance across cultures – context matters. For example, red is often associated with good fortune in Chinese culture, while in Western cultures it is often associated with love and passion, or sometimes even intellect. By incorporating colours with specific symbolic meanings, architects can convey emotional impulses that can enrich the aesthetic experience. Colours, as enhancers of distinctions between concepts, teach us to mark terminology precisely. As Jung stated, “distinction is creation”.

Geometric shapes possess the capability of carrying symbolic meanings in various ways. The use of circles often symbolizes unity and completeness, while the use of squares represents stability and balance. These are just examples of generic implementations. Mandalas, complex visual symbols that are made up of simpler geometric forms, have gained popularity as a way of understanding and explaining reality, as they represent the interconnectedness and unity of all things. As a higher level of Syntax, Mandala has found its way into the artistic canon.

The materials used in a building’s design can play a significant role in conveying symbolic meaning and adding depth to its overall aesthetic. For example, in Japanese architecture, the use of wood is often associated with a connection to nature and a sense of simplicity. This use of wood, which has been recognized as a key principle of Japanese aesthetics, has been embraced by modern architects and can be seen in many contemporary buildings. However, the symbolic significance of materials extends beyond just cultural associations. Different materials can also convey different emotions and moods, such as the warmth and comfort of wood, or the cool and sleek sophistication of steel. The interplay between different materials can also add layers of complexity and meaning to a building’s design. For example, the use of contrasting materials, such as the combination of rough, textured stone with smooth, polished glass, can create a sense of tension and dynamism in a structure.

By utilizing various forms of symbolism, architects can create designs that serve as meaningful expressions of the spirit of a people. These structures will not only reflect but also challenge the significance of given culture, encouraging individuals to engage with and consider their own cultural heritage in a more critical light.

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Balancing Form and Function in Architecture | A Philosophical Perspective

The question of form in architecture has long been a topic of interest to scholars and practitioners alike. While some argue that form should be dictated by function, others see the aesthetic qualities of a building as equally important. In this paper, we will examine some philosophical approaches to form in architecture and their impact on popular opinion.

There are several approaches to form in architecture, each with its own principles and philosophies. Some common approaches include structuralism, which focuses on the underlying structural principles that shape a building’s form; and contextualism, which considers the context in which a building is located and how its form should relate to its surroundings. One approach that places a strong emphasis on form in architecture is formalism. This philosophy, outlined by Kenneth Frampton and Robert Venturi, sees form as an end in and of itself, valuing the visual appearance of a building above its practical functions. Formalists argue that the form of a building should be carefully crafted to create a sense of harmony and balance and that the aesthetic qualities of a structure are just as important as its functional aspects. In contrast, functionalism is a philosophy that prioritizes practicality and efficiency over aesthetics. This approach, as outlined by scholars such as Le Corbusier and Ludwig Mies van der Rohe, argues that the form of a building should be dictated by its intended use, and that function should take precedence over form. This approach is exemplified in the work of modernist architects who believed in designing buildings as “machines for living” with a focus on functionality and efficiency.

However, it is not a simple choice between form or function. Some argue that the best approach is to strike a balance between the two. This is exemplified in the work of architect Louis Sullivan, who believed that form should follow function, but that the form should also be “the beautiful expression of function”. This idea has also been echoed by Frank Gehry, who argued that “form and function are inextricably linked”.

By considering the philosophical implications, architects can strike a balance between form and function. Ultimately, the goal of architecture should be to create spaces that enrich lives, whether through the beauty of their form or the practicality of their function. Whether we prioritize form or function, the role of philosophy in shaping the built environment is undeniable, and it is up to architects to consider the more profound implications of their own philosophical style.

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The design of a building goes beyond just its aesthetics and functionality. It can also have a profound impact on our sense of self and our relationship with the world.

As architects, it is our responsibility to create spaces that not only serve practical purposes but also communicate philosophical stories and values. These spaces can serve as ideograms of distinctive symbols and aid in the higher purpose of human individuation. They can symbolize our individual identities, universal patterns, archetypal-ideal forms, etc. and can contribute to the process of self-discovery.

It is no coincidence that we often have dreams about buildings, houses, towers, bridges, and cities. Our surroundings, including the buildings we live and work in, play a significant role in shaping our dreams and memories. As such, it is crucial that architects approach their work with a sense of purpose and consideration for the philosophical and psychological impacts of the spaces they create.

According to Aristotle, the purpose of a building is to serve a specific function. This concept has influenced the way architects approach building design, with a focus on creating spaces that are efficient and practical for their intended use. However, this “intended use” can be a principle or a symbol.

For example, an office building should be designed to facilitate the work of its employees, with features such as ample natural light, comfortable ergonomic furniture, and well-equipped conference rooms. On the other hand, a hospital should be designed to prioritize the safety, comfort, and well-being of patients, with features such as private rooms, easy access to medical equipment and facilities, and a calming environment. These different functions require different design approaches, and architects must consider the specific needs and requirements of each type of building in order to create functional and effective spaces. In the realm of symbolic representations, both of these buildings have their own missions. You will not design a hospital in the deconstructivist style, since the philosophy doesn’t apply well, or doesn’t contribute to any specific meaning.

Note: We do not consider deconstruction dialectical in any practical sense, ergo it can not be used as a symbol of “analytical thinking” for school design. This has happened multiple times before.

However, a building’s function can also have symbolic or cultural significance beyond its artistic style. For example, a church may serve not only as a place of worship but also as a symbol of the community.

However, it is not only practical considerations that shape architectural form. From the ancient Greeks to the modernists, architects have been influenced by aesthetic principles such as proportion, symmetry, and balance. These principles help to create a sense of order and harmony and contribute to the overall aesthetic impact of a building. For example, the Parthenon in Athens exemplifies the use of proportion and symmetry in ancient Greek architecture, while the Bauhaus movement of the early 20th century focused on the use of clean lines and a minimalist aesthetic.

From the practical considerations of function and place to the deeper philosophical concepts of identity and the human experience, philosophy has played a crucial role in the development of architectural thought and practice. But it is not just the philosophers and architects who have contributed to this relationship. The users of buildings also play a role in shaping the philosophical foundations of architectural form. The way we inhabit and interact with spaces has a profound impact on our sense of self and our relationship with the world around us. Just a simple walking from one room to another is the mathematical algorithm of logical play by different groups (rooms), and you as a relation structure (Ego), the interpreter of that reality, between them. Rooms, both past and present, represent visually logical images. Images that represent ideas such as walls, ceilings, chairs, or libraries. All of these constituents have their own values and aesthetic grammar. The interconnectedness between all of the stages is the language of architecture.

As we continue to explore the philosophical foundations of architectural form, we can better understand the role that architecture plays in shaping our sense of self and our relationship with the world around us.

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The fields of architecture, psychology, and literature may seem unrelated at first glance, but they are actually closely interconnected in ways that are often overlooked. In this blog post, we will delve into the ways in which the work of three influential figures – Carl Jung, Leonardo da Vinci, and Johann Wolfgang von Goethe – has influenced the intersection of these fields and challenged the notion that architecture is simply about creating aesthetically pleasing structures.

Carl Jung, the Swiss psychiatrist and founder of analytical psychology, argued that the unconscious mind has a powerful influence on human behaviour and decision-making. He believed that the human psyche is shaped by archetypes – universal symbols and themes present in the collective unconscious – which manifest themselves in various forms, including architecture. Jung argued that the way we design and use buildings reflects our deepest desires and fears, and can provide insight into the unconscious mind. In other words, architecture is not just a reflection of our conscious selves, but also of our unconscious drives and motivations. This concept of the collective unconscious and the influence of archetypes on human behaviour and decision-making has had a lasting impact on the field of psychology and continues to be widely studied and referenced today.

Carl Jung believes that people are fundamentally predetermined to create. They do this based on primordial images that are found in collective memory. According to Jung, these primordial patterns are found in our unconscious and form the basis of our ideas, beliefs, and behaviours.

In architecture, this thesis can be applied to the way in which people design our buildings and cities. Our architecture often exhibits linear forms that are similar to Plato’s and Euclid’s forms. These forms are often organized according to geometric principles and represent ideal forms that are approximate to what people consider perfect. Such “perfection” is visible only from the micro or macro perspective of nature. The human perspective shows the world as an organic formulation, which, with rare exceptions (Sun, Moon, etc.), has no pure forms.

In short, architecture, as it is currently and as it has been throughout history, is direct testimony to the ideas present in our unconscious and part of our collective memory. These ideas are reflected in the shapes and forms we use in our architecture and tell us a lot about our beliefs, values, and the way we see (or want to see) the world around us.

Leonardo da Vinci, the Renaissance artist and inventor, is perhaps best known for his paintings and drawings, such as the Mona Lisa and The Last Supper, but he was also deeply interested in architecture. In his notebooks, da Vinci explored the psychological effects of different building designs and the ways in which they could be used to manipulate the emotions and behaviours of those who used them. For example, da Vinci believed that circular buildings, with their smooth and continuous curves, created a sense of unity and harmony. He thought that this was because circular shapes lack sharp angles or edges that could create a sense of tension or conflict. Da Vinci also believed that angular buildings, with their sharp corners and edges, could evoke a sense of tension and conflict, possibly because these shapes are often associated with strength and power. This suggests that architecture has the power to shape our emotional and psychological states and that it is not simply a neutral backdrop to our lives. Da Vinci’s work on the psychological effects of different building designs has had a significant impact on the field of architecture and continues to be a source of inspiration and reference for architects today.

Johann Wolfgang von Goethe, the German writer and statesman, was also interested in the psychological effects of architecture. In his book “Theory of Colors,” Goethe explored the ways in which different colours and light can influence human emotion. He argued that the use of colour in architecture can create a sense of balance and harmony, or conversely, disrupt and disorient. In “Theory of Colors,” Goethe wrote: “Color is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammers, and the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” This quote illustrates Goethe’s belief in the power of colour to affect the human psyche and highlights the idea that the use of colour in architecture is not just a decorative choice, but has real psychological consequences. Goethe’s work has had a lasting impact on the field of colour theory and is still widely studied and referenced today. Goethe’s contributions to our understanding of the psychological effects of colour in architecture have had a significant impact on the field of literature and continue to be a source of inspiration and reference for writers and designers today.

In conclusion, the work of Jung, da Vinci, and Goethe illustrate the ways in which the fields of architecture, psychology, and literature are interconnected. By understanding the psychological effects of design and colour, architects can create buildings that not only serve practical functions but also have the power to influence the emotions and behaviours of those who use them. This holistic approach to architecture takes into account the various factors that contribute to the overall experience of inhabiting a space and aligns with the belief that the whole is greater than the sum of its parts.

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