THE

TIMELESS

WAY

OF

BUILDING

The

Timeless

Way

of Building

is the first in a series of

books w h i c h describe an entirely n e w attitude to a r c h i t e c ture and p l a n n i n g . T h e books are intended to provide a complete w o r k i n g alternative to o u r present ideas about architecture, building, and p l a n n i n g a n alternative which will, w e hope, g r a d u a l l y replace c u r r e n t ideas a n d practices.

volume

I T H E TIMELESS W A Y OF BUILDING volume 2 A PATTERN 3 T H E OREGON LANGUAGE EXPERIMENT

volume

Center

for Environmental
BERKELEY,

Structure

CALIFORNIA

THE TIMELESS WAY OF BUILDING

Christopher Alexander

with love and thanks to Ingrid, Sara, and Peter

NEW

YORK

OXFORD

UNIVERSITY
1

PRESS

979

Library of Congress Cataloging in Publication Data Alexander, Christopher. T h e timeless way of building. i . Architecture. NA2500.A45 2. Pattern perception. yzo'.i 76-42650 I. T i t l e .

ISBN - 13 978 - 0 - 1 9 - 5 0 2 4 0 2 - 9

printing, last digit: 30 29 28

Copyright 1979 by Christopher Alexander Printed in the United States of America on acid free paper

T o you, mind of no mind, in whom the timeless way was born.

ON R E A D I N G T H I S

BOOK

W h a t lies in this book is perhaps more important as a w h o l e than in its details. I f you only have an hour to spend on it, it makes m u c h more sense to read the whole book roughly in that hour, than to read only the first t w o chapters in detail. F o r this reason, I have a r r a n g e d each chapter in such a w a y that you can read the w h o l e chapter in a couple of minutes, simply by reading the headlines w h i c h are in italics. I f you read the beginning and end of every chapter, and the italic headlines that lie b e t w e e n them, turning the pages almost as fast as you can, you will be able to get the overall structure of the book in less than an hour. T h e n , if you w a n t to g o into detail, you w i l l k n o w w h e r e to g o , but a l w a y s in the context of the w h o l e .

CONTENTS
THE TIMELESS WAY

1. The

timeless

way

THE
2. The 3. Being quality alive without 41

QUALITY
a name 19

4. Patterns 5. Patterns 6. Patterns

of events of sface

55 75 101 fatterns

which are alive of living 137

7. The multiflicity S. The quality itself

THE
9. The flower and the seed zo. Our -pattern languages

GATE
157 167

vii

CONTENTS

ii.

Our -pattern languages

(conl.)

193 211 225 243

72. The creative -power of language 1 j. 14. The breakdown Patterns of language

which can be shared of patterns 277

75. The reality 16. 1 j.

The structure The evolution for a town

of a language of a common 325

305 language

THE
18. 19.

WAY
351

The genetic power of language Differentiating space at a lime 365 385 403

20. One pattern 27. Shaping 22. Shaping 23. The 24. The 25. The

one building a group

of buildings

427 455

process process

of construction of repair 475

slow emergence character

KERNEL

of a town 511
OF THE

493

26. Its ageless

THE

WAY

27. The

kernel

of the way

531

viu

DETAILED TABLE OF CONTENTS

THE

TIMELESS

WAY

A b u i l d i n g or a t o w n w i l l o n l y b e a l i v e to t h e e x t e n t that it is g o v e r n e d b y t h e t i m e l e s s w a y . 1. It is a process but ourselves; which brings order out of nothing happen

it cannot be attained,

but it will

of its own accord, if we will only let it.

T H E

QUALITY the

T o seek t h e t i m e l e s s w a y w e m u s t first k n o w quality without a name. 2. There of life wilderness. it cannot be 3. The is a central quality and spirit This in a man, quality which is the root a town,

criterion or a but

a building, and precise,

is objective

named. we make for this quality, in our

search which

IX

DETAILED

TABLE

OF

CONTENTS

own lives, is the central crux of any individual for those alive. 4. In order towns, place to define begin moments

search of any person, person's story. It is the when

and

the most

search

and situations

we are

this quality by

in buildings that certain

and in every of

we must is given

by understanding there. are always

its character

patterns

events that keep on happening 5. These as we shall mately made patterns of events patterns

interlocked Indeed, ultiand mole-

with certain

geometric

in the space.

see, each building out of these

and each town is in the space, made.

patterns

out of nothing

else: they are the atoms and the or a town is

cules from which a building 6. The specific they patterns

out of which forces

a building loose,

or a they in

town is made may be alive or dead. To the extent are alive, free; inner 7. The a room, let our inner they are dead, but when conflict. more living patterns there are in a they keep us locked

and set us

place to

a building,

or a townthe the more it glows,

more it comes

life as an entirety, that self-maintaining a name. 8. And

the more it has without

fire which is the quality

when a building

has this fire, then it play of

becomes grass, repetition

a part of nature. Tike its parts are governed

ocean waves, or blades of by the endless

DETAILED

TABLE

OF

CONTENTS

and varietycreated

in the presence

of the fact that

all

things pass. This is the quality

itself.

THE

GATE

T o reach the quality without a name we must then build a living pattern language as a gate.
g. This made, quality in buildings and in towns indirectly, seed. buildings for themselves, languages language an as just to to create by the cannot be

but only generated,

ordinary made,

actions of the people, but only generated 10. The and have which infinite people done

just as a flower cannot be

from the

can shape it for

centuries, languages.

by using A pattern buildings,

I call pattern variety

gives each person his ordinary an infinite 11. These

who uses it the power gives him sentences.

of new and unique of

language

the power

create

variety pattern

languages All language

are not confined acts of building of some entirely languages sort, which

to are and

vilgovthe they

lages and farm erned patterns use.

society.

by a pattern in the world by the

are there, pattern

because

are created

people

XII

DETAILED

TABLE

OF

CONTENTS

12.

And,

beyond

that,

it is not comes as well.

just from Even

the

shape

of lanand

towns

and buildings

which

pattern the life used.

guagesit

is their quality

beauty of the most awe-inspiring ings came from the languages

great religious

build-

their builders

/ j . But in our time the languages Since they are no longer impossible live. shared, down; keep them deep have broken virtually a building

have broken the processes and it is in our time, to

down. which therefore make

for anybody,

14. To work our way towards a shared and living guage once again, we must first learn how to patterns life. 15. We may then gradually very improve them live, these which are deep, and capable of

lan-

discover generating

patterns experience: patrecog-

which

we share,

by testing

against whether or not,

we can determine, terns make nizing 16.

simply, feel.

these by

our surroundings

how they make us

Once

we have understood which are alive, of the language among whole. lives, for ourselves

how

to discover task we by the patterns: to the

indiface. netand degree

vidual The work

patterns structure

we may then make a is created

language

for any building individual

of connections

the language

or not, as a totality,

these patterns form a

XII

DETAILED

TABLE

OF

CONTENTS

77. still,

Then

finally,

from

separate

languages a larger evolving

for

(liferstructure

ent building which the is the

tasks,

we can create language

a structure gate.

of structures,

constantly, This is

common

for a town.

THE

WAY

Once we have built the gate, we can pass through it to the practice of the timeless way.
18. Now of creative language ordinary system we shall begin to see in detail how the rich

and complex

order of a town can grow from acts. For once we have a common live, through of small

thousands pattern to our acts most genetic the

in our town, we shall all have the power acts. The which language, whole. every individual act of like a seed, is the

make our streets and buildings gives

our millions

power to form a 19. Within

this process, in which

buildIt parts of unwhich birth

ing is a process is not a process are combined folding, the whole like

space gets differentiated. in which preformed but a process in gives of an embryo,

of addition, evolution

to create a whole, the

precedes

the parts, and actually

to tJiem, by 20. The pattern

splitting. of unfolding goes step by step, one to

process

at a time. Each step brings fust one pattern

xui

DETAILED

TABLE

OF

CONTENTS

life;

and the intensity

of the result

defends stefs.

on the in-

tensity 21. form

of each one of these individual a sequence with within of the these your

From

individual of thoughts,

fat terns, nature as easily will as

whole

buildings themselves

character

sentences. 22. In the same way, groufs their lowing larger fublic mind. are conceived from within a few simfle a common drawings. each one done to acts, whole like this, they made but buildings, fattem a common of feofle on the can ground, almost conceive by folthey as if

language,

had a single 23. Once

the buildings directly,

can be built, directly, 24. Next, refair will slowly

marks language,

in the groundagain and without several

the use of

acts of building, the froduct generate.

and magnify generate

of the previous

a larger and more comflex

than any single act can 25. Finally, guage, together emergence nothing. within

the framework a town which without without

of a common building and is the as if is alive, This a name,

lanwill whole, slow from

millions generate

of individual

acts of

and unfredictable,

control.

of the quality

xiv

DETAILED

TABLE

OF

CONTENTS

26. And name.

as the whole

emerges,

we shall

see it

take charbeing with-

that ageless

character which

gives the timeless must come into alive:

way its

This character is a specific, morphological which or a town becomes in buildings,

acter, sharp and precise, any time a building physical embodiment, out a name.

it is the

of the quality

THE

KERNEL

OF

THE

WAY

A n d yet the timeless way is not complete, and will not f u l l y generate the quality without a name, until we leave the gate behind.
27. Indeed end, processes damental ready, this ageless character The has nothing, language, release to us. They time in and the do and the the funnot altime and

to do with order

languages. which

which stem from only remind

it, merely

is native

teach us, they again, when

us of what we know discover

and of what we shall from

we give up our ideas and opinions, ourselves.

do exactly what emerges

xv

THE TIMELESS WAY

A building or a town will only be alive to the extent that it is governed by the timeless way.

CHAPTER

T H E T I M E L E S S WAY
It is a process which brings order out of nothing attained, but ourselves; it cannot be but it will happen of its own

accord, if we will only let it.

There

is one timeless been.

way of

building. and the same today of the fast, who as the at were possible beautiful where as for in are.

It is thousands it has always The villages home, very places, you feel it great have close

of years old,

traditional always been

buildings made or feel

and tents and temples to the center great places alive, buildings, where except which you

in which by people great

man feels

of this way. It is not towns, places yourself,

to make

by following are

this way. And, who looks as ancient

you will see, this way will lead anyone to buildings themselves their form, as the trees and hills,

and as our faces

I t is a process through which the order of a building or a town g r o w s out directly from the inner nature of the people, and the animals, and plants, and matter which are in it. It is a process which allows the life inside a person, or a family, or a t o w n , to flourish, openly, in freedom, so vividly that it gives birth, of its o w n accord, to the natural order which is needed to sustain this life.

It is so powerful and fundamental that with its help you can make any building in the world as beautiful as any place that you have ever seen.
O n c e you understand this w a y , you will be able to make your room alive; you will be able to design a house together with your family; a garden for your children;

THE

TIMELESS

WAY

places where you can w o r k ; beautiful terraces where you can sit and dream.

It is so powerful, together peaceful in

that with its help hundreds which is alive a town as beautiful

of

people vibrant, town

can create a town, and relaxed,

and as any

history.

W i t h o u t the help of architects or planners, if you are w o r k i n g in the timeless w a y , a t o w n will g r o w your hands, as steady as the flowers in your garden. under

And

there

is no other

way in which be made.

a building

or a

town which

lives can possibly

T h i s does not mean that all ways of making buildings are identical. It means that at the core of all successful acts of building and at the core of all successful processes of g r o w t h , even though there are a million different versions of these acts and processes, there is one f u n d a mental invariant feature, which is responsible for their success. A l t h o u g h this w a y has taken on a thousand different forms at different times, in different places, still, there is an unavoidable, invariant core to all of them.

Look this

at the buildings chapter.

in the photographs

which

start

T h e y are alive. T h e y have that sleepy, a w k w a r d which comes from perfect ease.

grace

A n d the A l h a m b r a , some tiny gothic church, an old

THE

TIMELESS

WAY

N e w E n g l a n d house, an Alpine hill village, an ancient Z e n temple, a seat by a mountain stream, a courtyard filled with blue and yellow tiles a m o n g the earth. W h a t is it they have in common? harmoniousyes, T h e y are beautiful, ordered, But especially, and all these things.

w h a t strikes to the heart, they live.

Each fart

one of us wants to be able to bring a building of a town to life like this.

or

It is a fundamental human instinct, as much a part of our desire as the desire for children. It is, quite simply, the desire to make a part of nature, to complete a world which is already made of mountains, streams, snowdrops, and stones, with something made by us, as much a part of nature, and a part of our immediate surroundings.

Each dream

one

of

us

has,

somewhere world, a

in

his

heart,

the

to make a living

universe.

T h o s e of us w h o have been trained as architects have this desire perhaps at the very center of our lives: that one day, somewhere, somehow, w e shall build one building which is w o n d e r f u l , beautiful, breathtaking, a place where people can walk and dream for centuries. In some form, every person has some version of this d r e a m : w h o e v e r you are, you m a y have the dream of one day building a most beautiful house for your family, a garden, a fountain, a fishpond, a big room with soft light, flowers outside and the smell of new grass. In some less clear fashion, anyone w h o is concerned

THE

TIMELESS

WAY

with towns has this same dream, perhaps, for an entire town.

And

there

is a way

that

a building this.

or a town

can

actually

be brought

to life like

T h e r e is a definable sequence of activities which are at the heart of all acts of building, and it is possible to specify, precisely, under w h a t conditions these activities will generate a building which is alive. A l l this can be made so explicit that anyone can do it. A n d just so, the process by which a group of independent people make part of a town alive can equally be made precise. A g a i n , there is a definable sequence of activities, more complex in this case, which are at the heart of all collective building processes, and it is possible to specify exactly when these processes will bring things to life. A n d , once again, these processes can be made so explicit, and so clear, that any group of people can make use of them.

This

one way of building

has always

existed.

It is behind the building of traditional villages in A f r i c a , and India, and Japan. It was behind the building of the great religious buildings: the mosques of Islam, the monasteries of the middle ages, and the temples of Japan. I t was behind the building of the simple benches, and cloisters and arcades of English country t o w n s ; of the mountain huts of N o r w a y and Austria; the roof tiles on the

10

THE

TIMELESS

WAY

walls of castles and palaces; the bridges of the Italian middle ages; the cathedral of Pisa. I n an unconscious f o r m , this w a y has been behind almost all w a y s of building for thousands of years.

But it has become going show this to a level way.

possible of analysis

to identify which

it, only is deef

now,

by to of

enough versions

what is invariant

in all the different

T h i s hinges on a form of representation which reveals all possible construction processes, as versions of one deeper process. First, w e have a w a y of looking at the ultimate constituents of the environment: the ultimate " t h i n g s " which a building or a town is made of. A s w e shall see, in chapters 4 and 5, every building, every town, is made of certain entities which I call patterns: and once w e understand buildings in terms of their patterns, w e have a w a y of looking at them, which makes all buildings, all parts of a town similar, all members of the same class of physical structures. Second, w e have a w a y of understanding the generative processes which give rise to these patterns: in short, the source from which the ultimate constituents of building come. A s w e shall see in chapters 10, 1 1 , and these patterns always come processes, which are from certain different in the specific 12, combinatory patterns

which they generate, but always similar in their overall structure, and in the w a y they w o r k . T h e y are essentially

11

THE

TIMELESS

WAY

like languages. A n d again, in terms of these pattern languages, all the different ways of building, although different in detail, become similar in general outline.

At

this level building

of analysis, processes.

we can compare

many

dif-

ferent

T h e n , once w e see their differences clearly, it becomes possible to define the difference between those processes which make buildings live, and those which make them dead.

And which

it turns allow

out that, us to make

invariant, buildings

behind live,

all

processes single

there is a

common

process.

T h i s single process is operational and precise. I t is not merely a vague idea, or a class of processes which w e can understand: it is concrete enough and specific enough, so that it functions practically. It gives us the power to make towns and buildings live, as concretely as a match gives us the p o w e r to make a flame. It is a method or a discipline, which teaches us precisely w h a t we have to do to make our buildings live.

But

though

this method

is precise,

it cannot

be

used

mechanically. T h e fact is, that even when w e have seen deep into the processes by which it is possible to make a building or a

12

THE

TIMELESS

WAY

town alive, in the end, it turns out that this knowledge only brings us back to that part of ourselves which is forgotten. A l t h o u g h the process is precise, and can be defined in exact scientific terms, finally it becomes valuable, not so much because it shows us things which we don't k n o w , but instead, because it shows us w h a t we know already, only daren't admit because it seems so childish, and so primitive.

Indeed

it turns out, in the endy that what this free us from all method.

method

does is simply

T h e more we learn to use this method, the more we find that what it does is not so much to teach us processes we did not know before, but rather opens up a process in us, which was part of us already. We find out that we already know how to make buildings live, but that the power has been frozen in us: that we have it, but are afraid to use it: that we are crippled by our fears; and crippled by the methods and the images which we use to overcome these fears. A n d what happens finally, is that we learn to overcome our fears, and reach that portion of our selves which knows exactly how to make a building live, instinctively. But we learn too, that this capacity in us is not accessible, until we first go through the discipline which teaches us to let go of our fears. And that is why one. the timeless way is, in the end, a

timeless

THE

TIMELESS

WAY

It is not an external method, which can be imposed on things. It is instead a process which lies deep in us: and only needs to be released.

The of us

power

to make

buildings

beautiful

lies

in

each

already.

I t is a core so simple, and so deep, that we are born with it. T h i s is no metaphor. I mean it literally. Imagine the greatest possible beauty and harmony in the w o r l d t h e most beautiful place that you have ever seen or dreamt of. Y o u have the p o w e r to create it, at this very moment, just as you are. A n d this power we have is so firmly rooted and coherent in every one of us that once it is liberated, it will allow us, by our individual, unconnected acts, to make a town, without the slightest need for plans, because, like every living process, it is a process which builds order out of nothing.

But as things rules, come vinced to make

are, we have so far beset and ideas will of what or a town alive, happen them chaos. work within

ourselves must be and and

with done beconwith will

and concepts, a building of what that we must afraid

that we have

naturally, a "system"

"methods"

since without down in

our surroundings

come tumbling

W e are afraid, perhaps, that without images and methods, chaos will break loose; worse still, that unless we use im-

14

THE

TIMELESS

WAY

ages of some kind, ourselves, our o w n creation will itself be chaos. A n d w h y are w e afraid of that? Is it because people will laugh at us, if we make chaos? O r is it, perhaps, that we are most afraid of all that if we do make chaos, w h e n w e hope to create art, we will ourselves be chaos, hollow, nothing? T h i s is w h y it is so easy for others to play on our fears. T h e y can persuade us that we must have more method, and more system, because we are afraid of our o w n chaos. W i t h o u t method and more method, we are afraid the chaos which is in us will reveal itself. A n d methods only make things worse. yet these

The are

thoughts illusions.

and

jears

which

feed

these

methods

It is the fears which these illusions have created in us, that make places which are dead and lifeless and artificial. A n d g r e a t e s t irony of a l l i t is the very methods we invent to free us from our fears which are themselves the chains whose grip on us creates our difficulties. For the fact is, that this seeming chaos which is in us is a rich, rolling, swelling, dying, lilting, singing, laughing, shouting, crying, sleeping order. If w e will only let this order guide our acts of building, the buildings that we make, the towns w e help to make, will be the forests and the meadows of the human heart.

To purge

ourselves

of these images

illusions,

to become which distort

free the

of all the artificial

of order

15

THE

TIMELESS

WAY

nature which selves pricked nature This

that is in us, we must teaches and our us the surroundings.

first learn

discipline ourand

true relationship has done

between its work,

Then,

once this discipline the bubbles does. is the timeless shedding of illusion

which we cling to now, and act as learning the

we will be ready

to give up the discipline, way of building: it.

disciplineand

16

THE

QUALITY

T o seek the timeless way we must first know the quality without a name.

CHAPTER

T H E QUALITY W I T H O U T A NAME
There is a central quality which is the of life and spirit in a man, or a wilderness. and precise, This but it

root criterion quality

a town, a building, is obfective named. cannot be

We have ence and bad.

been taught good

that there buildings

is no objective and bad, good a good town and In a

differtowns buildand a diference dividedworld In a people be so the which

between

The fact is that the diference ing and a bad building, bad town, between which world cannot is an objective health is healthy, which between

between a good

matter.

It is the

and sickness, whole,

wholeness and

ness, s elf -maintenance people themselves be alive:

and selj-destruction. alive, and will

self-maintaining,

can be alive they and

and self-creating. self-destroying, themselves people bad. quality believe for

is unwhole

inevitably why and central named.

self-destroying, firmly that

miserable. is no single, solid basis

But it is easy to understand there difference makes between good building the single cannot be

It happens

because

the difference

T h e first place I think of, w h e n I try to tell someone about this quality, is a corner of an English country g a r den, where a peach tree g r o w s against a wall. T h e wall runs east to w e s t ; the peach tree g r o w s flat against its southern side. T h e sun shines on the tree and as it w a r m s the bricks behind the tree, the w a r m bricks themselves w a r m the peaches on the tree. It has a slightly dozy quality. T h e tree, carefully tied to g r o w flat against the w a l l ; w a r m i n g the bricks; the peaches g r o w i n g in the sun; the wild grass g r o w i n g around the roots of the tree, in the angle where the earth and roots and wall all meet.

25

THE

QUALITY

T h i s quality is the most fundamental quality there is in anything.

It is never shape jrom

twice

the same,

because

it always it

takes occurs.

its

the particular

place in which

In one place it is calm, in another it is stormy; in one person it is tidy; in another it is careless; in one house it is light; in another it is d a r k ; in one room it is soft and quiet; in another it is yellow. In one family it is a love of picnics; in another d a n c i n g ; in another playing poker; in another group of people it is not family life at all.

It is a subtle tions.

kind

of freedom

from

inner

contradic-

A system has this quality w h e n it is at one with itself; it lacks it w h e n it is divided. It has it w h e n it is true to its o w n inner forces; lacks it w h e n it is untrue to its o w n inner forces. It has it w h e n it is at peace with itself; and lacks it w h e n it is at w a r with itself. Y o u already know this quality. T h e feeling for it is the most primitive feeling which an animal or a man can have. T h e feeling for it is as primitive as the feeling for our o w n well-being, for our o w n health, as primitive as the intuition which tells us w h e n something is false or true. B u t to grasp it fully you must overcome the prejudice

26

THE

QUALITY

WITHOUT

NAME

of physics which tells us that all tilings are equally alive and real.

In physics one system other.

and chemistry can be more

there at one

is no sense with itself

in than

which an-

A n d no sense at all in which w h a t a system " o u g h t to be" g r o w s naturally from " w h a t it is." T a k e , for example, the atoms which a physicist deals with. A n atom is so simple that there is never any question whether it is true to its o w n nature. A t o m s are all true to their o w n natures; they are all equally real; they simply exist. A n atom cannot be more true to itself, or less true to itself. A n d because physics has concentrated on very simple systems, like atoms, w e have been led to believe that w h a t something " i s , " is an entirely separate question from w h a t it " o u g h t to b e " ; and that science and ethics can't be mixed.

But very

the

view and

of

the

world

which

physics

teaches, by this

powerful

wonderful

as it is, is limited

blindness.

In the world of complex systems it is not so. M o s t men are not fully true to their o w n inner natures or fully " r e a l . " I n fact, for many people, the effort to become true to themselves is the central problem of life. W h e n you meet a person w h o is true to himself, you feel at once that he is " m o r e r e a l " than other people are. A t the hu-

27

THE

QUALITY

man level of complexity, then, there is a distinction between systems which are true to their "inner our inner nature, or equally real, or equally whole. A n d exactly the same is true in those larger systems, outside us, which w e call our w o r l d . N o t all parts of the world are equally true to themselves, equally real, equally whole. In the world of physics, any system which is selfdestroying simply ceases to exist. B u t in the world complex systems this is not so. of nature," and those which aren't. N o t all of us are equally true to

Indeed, things

this subtle live.

and Complex the very

freedom quality

from which

inner makes

contradictions

is just

In the world of living things, every system can be more real or less real, more true to itself or less true to itself. It cannot become more true to itself by copying any externally imposed criterion of w h a t it ought to be. But it is possible to define a process which will tell you h o w the system can become more true to itself, in short w h a t it " o u g h t to b e , " only according to w h a t it is. T h i s oneness, or the lack of it, is the fundamental quality for any thing. W h e t h e r it is in a poem, or a man, or in a building full of people, or in a forest, or a city, everything that matters stems from it. It embodies everything.

Yet still this quality

cannot be

named.

28

THE The

QUALITY

WITHOUT

NAME does not

fact that this quality

cannot be named

mean that it is vague or imprecise. I t is impossible to name because it is unerringly precise. W o r d s fail to capture it because it is much more precise than any word. T h e quality itself is sharp, exact, with no looseness in it whatsoever. B u t each word you choose to capture it has f u z z y edges and extensions which blur the central meaning of the quality. I shall try to show you n o w , w h y words can never capture it, by circling round it, through the medium of half a dozen words.

The

word

which

we most

often

use to talk about "alive."

the

quality

without

a name is the word

T h e r e is a sense in which the distinction between something alive and something lifeless is much more general, and far more profound, than the distinction between living things and nonliving things, or between life and death. T h i n g s which are living may be lifeless; nonliving tilings may be alive. A man w h o is walking and talking can be alive; or he can be lifeless. Beethoven's last quartets are alive; so are the waves at the ocean shore; so is a candle flame; a tiger may be more alive, because more in tune with its o w n inner forces, than a man. A well-made fire is alive. T h e r e is a world of difference between a fire which is a pile of burning logs, and a fire which is made by someone w h o really understands a fire. He places each log exactly to make the air between

29

THE

QUALITY

the logs just right. H e doesn't stir the logs with a poker, but while they are burning, grasps each one, and places it again, perhaps only an inch from where it was before. T h e logs are so exactly placed that they form channels for the draft. W a v e s of liquid yellow flame run up the logs w h e n the draft blows. E a c h log g l o w s with full intensity. T h e fire, watched, burns so intensely and so steadily, that w h e n it dies, finally, it burns to nothing; when the last g l o w dies, there is nothing but a little dust left in the fireplace.

But

the

very

beauty

of the

word

"alive"

is just

its

weakness. T h e o v e r w h e l m i n g thing that stays with you is that the fire lives. A n d yet this is a metaphor. Literally, w e know that plants and animals are alive, and fire and music are not alive. If w e are pressed to explain w h y w e call one fire alive and another dead, then w e are at a loss. T h e metaphor makes us believe that w e have found a w o r d to grasp the quality without a name. B u t w e can only use the w o r d to name the quality, w h e n w e already understand the quality.

Another without

word

we often

use to talk about

the

quality

a name is

"whole."

A thing is whole according to how free it is of inner contradictions. W h e n it is at w a r with itself, and gives rise to forces which act to tear it d o w n , it is unwhole. T h e more

46

THE

QUALITY

WITHOUT

NAME

free it is of its o w n inner contradictions, the more whole and healthy and wholehearted it becomes. Compare the trees along a wild and w i n d b l o w n lake, with an eroded gully. T h e s e trees and branches are so made that when the wind blows they all bend, and all the forces in the system, even the violent forces of the wind, are still in balance w h e n the trees are bent; and because they are in balance, they do no harm, they do no violence. T h e configuration of the bending trees makes them self-maintaining. B u t think about a piece of land that is very steep, and where erosion is taking place. T h e r e aren't enough tree roots to hold the earth together, let's say; the rain falls, in torrents, and carries the earth d o w n streams which form gullies; again, the earth is still not bound together because blows; there aren't enough plants there; the wind water deepens the erosion goes further; next time the

comes, it runs in the

very same gullies, and

them; and widens them. T h e configuration of this system is such that the forces which it gives birth to, which arise in it, in the long run act to destroy the system. T h e system is self-destroying; it does not have the capacity to contain the forces which arise within it. T h e system of the trees and wind is w h o l e ; the system of the gully and the rain is unwhole.

But

the word

"whole"

is too

enclosed. you

It suggests closure, containment, finiteness. W h e n

call a thing whole, it makes you think that it is whole

THE

QUALITY

unto itself, and isolated from the w o r l d around it. But a lung is whole, only so long as it is breathing oxygen from the air outside the organism; a person is whole only so long as he is a member of some human group; a town is whole only so long as it is in balance with the surrounding countryside. The And word carries a subtle hint of always self-containment. the quality "whole" self-containment undermines

which has no name. F o r this reason, the word can never perfectly describe this quality.

Another caught

facet

of

the

quality

which

has no

name

is

by the word

"comfortable."

T h e word " c o m f o r t a b l e " is more profound than people usually realize. T h e mystery of genuine comfort goes far beyond the simple idea that the word first seems to mean. Places which are comfortable tle restlessness disturbing them. Imagine yourself on a winter afternoon with a pot of tea, a book, a reading light, and t w o or three huge pillows to lean back against. N o w make yourself comfortable. N o t in some w a y which you can show to other people, and say how much you like it. I mean so that you really like it, for yourself. Y o u put the tea w h e r e you can reach it: but in a place where you can't possibly knock it over. Y o u pull the light d o w n , to shine on the book, but not too brightly, and so that you can't see the naked bulb. Y o u put the cushions are comfortable because they have no inner contradictions, because there is no lit-

32

THE

QUALITY

WITHOUT

NAME

behind you, and place them, carefully, one by one, just where you w a n t them, to support your back, your neck, your a r m : so that you are supported just comfortably, just as you w a n t to sip your tea, and read, and dream. W h e n you take the trouble to do all that, and you do it carefully, with much attention, then it may begin to have the quality which has no name.

Yet

the

word

"comfortable" meanings.

is easy

to misuse,

and

has too many other

T h e r e are kinds of comfort which stultify and have no life in them because they are too sheltered.

deaden

too. It is too easy to use the w o r d for situations which A family with too much money, a bed which is too soft, a room which always has an even temperature, a covered path on which you never have to w a l k out in the rain, these are all " c o m f o r t a b l e " in a more stupid sense, and so distort the central meaning of the w o r d .

A word

which

overcomes

the lack of openness " is the word

in

the

words "whole"

and "comfortable

"free."

T h e quality without a name is never calculated, never perfect; that subtle balance of forces only happens w h e n the ideas and images are left behind; and created with abandon. T h i n k of a truck, filled with bags of cement. If the bags are stacked perfectly, in lines, it may be careful, and intelligent, and quite precise. B u t it will not begin to

33

THE

QUALITY

have the quality without a name, until there is a certain freedom there: the men w h o piled the bags, running, and throwing them, forgetting themselves, throwing selves into it, lost, wild. . . . A n d a steel mill too can have this quality because its freedom and its wildness show there, blazing in the night. them-

And

yety of course, a

this freedom manner.

can be too

theatrical:

a pose, a form,

A building which has a " f r e e " f o r m a shape without roots in the forces or materials it is made o f i s like a man whose gestures have no roots in his o w n nature. Its shape is borrowed, artificial, forced, contrived, made to copy outside images, not generated by the forces inside. T h a t kind of so-called freedom is opposite to the quality which has no name.

A word "exact."

which

helps

restore

the

balance

is the

word

T h e word " e x a c t " helps to counterbalance the impression of other words like " c o m f o r t a b l e " and "free." These words suggest that the quality without a name is somehow inexact. A n d it is true that it is loose and fluid and relaxed. B u t it is never inexact. T h e forces in a situation are real forces. T h e r e is no getting round them. If the adaptation to the forces is not perfectly exact, there can be no comfort, and no freedom, because the small forces which have been left out will always w o r k to make the system fail.

34

THE

QUALITY

WITHOUT

NAME

Suppose that I am trying to make a table for the blackbirds in my garden. In winter, w h e n the snow is on the ground, and the blackbirds are short of food, I will put food out for them on the table. So I build the table; and dream about the clusters of blackbirds which will come flocking to the table in the snow. But it is not so easy to build a table that will really work. T h e birds follow their o w n l a w s ; and if I don't understand them, they just w o n ' t come. If I put the table too l o w , the birds w o n ' t fly d o w n to it, because they don't like to swoop too close to the ground. If it is too high in the air, or too exposed, the wind w o n ' t let them settle on it. If it is near a laundry line, blowing in the wind, they will be frightened by the moving line. Most of the places where I put the table actually don't w o r k . I slowly learn that blackbirds have a million subtle forces guiding them in their behavior. If I don't understand these forces, there is simply nothing I can do to make the table come to life. So long as the placing of the table is inexact, my image of the blackbirds flocked around the table eating, is just wishful thinking. T o make the table live, I must take these forces seriously, and place the table in a position which is perfectly exact.

And}

yet,

of course, property.

the

word

"exact"

does

not

de-

scribe it

It has no sense of freedom in it; and it is too reminiscent of those other things which are exact in an entirely different sense. Usually, w h e n w e say something is exact, we mean

35

THE

QUALITY

that it fits some abstract image perfectly. If I cut a square of cardboard, and make it perfectly exact, it means that I have made the cardboard perfectly square: its sides are exactly equal: and its angles are exactly ninety degrees. I have matched an image perfectly. T h e meaning of the word " e x a c t " which I use here is almost opposite. A thing which has the quality without a name never fits any image exactly. W h a t is exact is its adaptation to the forces which are in it. B u t this exactness requires that it be loose and fluid in its form.

word is

which

goes

much

deeper

than

the

word

"exact"

"egoless."

W h e n a place is lifeless or unreal, there is almost always a mastermind behind it. It is so filled with the will of its maker that there is no room for its o w n nature. T h i n k , by contrast, of the decoration on an old bench s m a l l hearts carved in it; simple holes, cut out while it was being put togetherthese can be egoless. T h e y are not carved according to some plan. They are carefree, carved into it, w h e r e v e r there seems to be a gap. It is not in the least contrived; there is no e f f o r t in the decoration; it does not seek to express the personality of the man w h o carved it. It is so natural, that it almost seems as though the bench itself cried out for it: and the carver simply did w h a t was required.

And

yet, although

the old bench

and its carving right.

may

be egoless,

this word is also not quite

36

THE

QUALITY

WITHOUT

NAME

I t does not mean, for instance, that the man w h o made it left his o w n person out of it. It was part of his person that he liked the bench, and wanted to carve hearts in it. P e r haps he made it for his favorite girl. It is perfectly possible to make a thing which has the quality which has no name, and still let it reflect your personality. Y o u r person, and the likes and dislikes which are part of you, are themselves forces in your garden, and your garden must reflect those forces just as it reflects the other forces which make leaves g r o w and birds sing. B u t if you use the word " e g o " to mean the center of a person's character, then the idea of making something egoless can sound as though you w a n t the person to efface himself completely. T h a t is not w h a t the word means at all; and yet because of it, the word is not quite right.

A last word

which

can hel-p to catch the quality "eternal."

with-

out a name is the word

A l l things and people and places which have the quality without a name, reach into the realm of the eternal. Some are eternal in almost a literal sense: they are so strong, so balanced, so strongly self-maintaining, that they are not easily disturbed, almost imperishable. Others reach the quality for no more than an instant, and then fall back into the lesser state, where inner contradictions rule. T h e word " e t e r n a l " describes them both. F o r the instant that they have this quality, they reach into the realm of eternal truth. A t that moment when they are free

37

THE

QUALITY among

from inner contradictions, they take their place the order of things which stand outside of time.

I once saw a simple which was perhaps

-fish

pond

in a Japanese

village

eternal.

A farmer made it for his farm. T h e pond was a simple rectangle, about 6 feet wide, and 8 feet l o n g ; opening flowoff a little irrigation stream. A t one end, a bush of

ers h u n g over the water. A t the other end, under the water, was a circle of wood, its top perhaps 12 inches below the surface of the water. In the pond there eight great ancient carp, each maybe 18 inches were long,

orange, gold, purple, and black: the oldest one had been there eighty years. T h e eight fish s w a m , slowly, slowly, in c i r c l e s o f t e n within the wooden circle. T h e whole world was in that pond. E v e r y day the farmer sat by it for a f e w minutes. I was there only one day and I sat by it all afternoon. E v e n n o w , I cannot think of it without tears. T h o s e ancient fish had been s w i m m i n g , slowly, in that pond for eighty years. I t was so true to the nature of the fish, and flowers, and the water, and the farmers, that it had sustained itself for all that time, endlessly repeating, always different. T h e r e is no degree of wholeness or reality which can be reached beyond that simple pond.

And more

yet, like than it

all the other explains.

words,

this word

confuses

38

THE

QUALITY

WITHOUT

NAME

It hints at a religious quality. T h e hint is accurate. A n d yet it makes it seem as though the quality which that pond has is a mysterious one. It is not mysterious. I t is above all ordinary. W h a t makes it eternal is its ordinariness. T h e word " e t e r n a l " cannot capture that.

And tures

so you it.

see, in spite there

of every

effort name

to give which

this cap-

quality

a name,

is no single

Imagine the quality without a name as a point, and each of the words which w e have tried as an ellipse. E a c h ellipse includes this point. B u t each ellipse also covers many other meanings, which are distant from this point. Since every w o r d is always an ellipse like thisthen every w o r d will always be too broad, too vague, too large in scope to refer only and exactly to the quality which is the point. N o word can ever catch the quality without a name because the quality is too particular, and words too broad. A n d yet it is the most important quality there is, in anyone, or anything.

It is not only can make fitness making quality comes making

simple

beauty Man

of form nature.

and color. It is not too, the too, mosque, that

Man only without spiritual that without

that without nature. And Man

making it is

to purpose. of beautiful from faith. nature.

can make not

only that

music

or of a quiet can make

39

THE

QUALITY

The simpler well, our life.

quality sweeter

which

has no But reminds quality.

name

includes ordinary

these as of

qualities.

it is so

that it somehow bitter

us of the passing

It is a slightly

40

CHAPTER

BEING ALIVE
The search which we make for quality, in our own lives, is the person's alive. this central search when

search of any -person, and the crux of any individual story. It is the and situations for those moments we are most

'v.r

We like,

know, in

nowy

what and

the in

quality character.

without But Yet

a name so far,

is con-

feeling we have

cretely, larger

not. seen a fond,

this quality a bench. We these plants,

in any cities, shall larger

system streets,

than a tree,

it can be in begin it to in

anythingin understand of the It ourselves. is, for

buildings, it concretely, only instance, road.

animals, in all we wild

the wildernessand world,

in ourselves. when the first

pieces

understand of the

smile

gypsies

dancing

in the

T h e broad brim of the big hat, like arms spread wide, open to the world, confident, huge, . . . T h e of the child's arms about the grass. . . . embrace It is the solid

and entrenched repose of the old man lighting a cigarette: hands on his knees, solid, resting, waiting, listening. In our lives, this quality without a name is the most precious thing we ever have.

And

I am free to the extent

I have

this quality

in

me.

O n e man is free at that one instant w h e n you see in him a certain smile and you k n o w he is himself, and perfectly at home within himself. Imagine him especially, perhaps, wearing a great wide hat, his arm flung out in an expansive gesture, singing perhaps and for one instant utterly oblivious to everything but what is in him and around him at that second.

47

THE This wild, freedom, we let

QUALITY into our lives

this -passion, comes go.

in the instant

I t is w h e n all our forces can move freely in us. In nature, this quality is almost automatic, images to interfere with natural because there are no processes of the natural, making necessary

things. But in all of our creations, the possibility occurs that images can interfere with order of a thing. A n d , most of all, this w a y that images distort the things we make, is familiar in ourselves. F o r w e ourselves are, like our works, the products of our o w n creation. A n d w e are only free, and have the quality without a name in us, w h e n we give up the images which guide our lives. Y e t each of us faces the fear of letting go. T h e fear of being just exactly w h a t one is, of letting the forces flow freely; of letting the configuration of one's person adjust truly to these forces. O u r letting go is stifled, all the time, so long as w e have ideas and opinions about ourselves, which make us h u g too tightly to our images of h o w to live, and bottle up these forces. So long as we are still bottled up, like this, there is a tightness about the mouth, a nervous tension in the eyes, a stiffness and a brittleness in the w a y way we move. A n d yet, until one does let go, it is impossible to be alive. T h e stereotypes are restricted; there are very different configurations. The infinite variety of actual we walk, the

48

BEING

ALIVE

people, with their vastly and utterly different forces, require a huge creation, to find the resolution of the person: and in finding this resolution truly, one must above all be free of the stereotypes.

The

great

film,

Ikiruto

livedescribes

it in

the

life of an old

man.

He has sat for thirty years behind a counter, preventing things from happening. A n d then he finds out that he is to die of cancer of the stomach, in six months. He tries to live; he seeks e n j o y m e n t ; it doesn't amount to much. A n d finally, against all obstacles, he helps to make a park in a dirty slum of T o k y o . He has lost his fear, because he knows that he is going to die; he works and w o r k s and works, there is no stopping him, because he is no longer afraid of anyone, or anything. He has no longer anything to lose, and so in this short time gains everything; park which he has made, and singing. and then dies, in the snow, swinging on a child's swing in the

Each

of us lives daring from.

most fully

"on

the wire " in the thing which fear

face fre-

of death, vents us A

to do the very

few years ago a family of high wire artists had a ex-

terrible fall from the high wire, in the middle of their performance. A l l of them were killed or maimed, cept the father, w h o escaped with broken legs. B u t even

49

THE

QUALITY

after losing his children in the fall, a few months later he was back to w o r k , in the circus, on the wire again. Someone asked him in an interview, how he could bring himself to do it, after such a terrible accident. He answered: " O n is w a i t i n g . " the wire, that's living . . . all the rest

Of course for most

of us it is not quite

so

literal.

T h e fear which prevents us from being ourselves, from being that one person unique in all the world, from coming to l i f e t h a t may mean nothing greater than the fear of giving up the image of a certain job, an image of a certain kind of family life. O n e man can be as free in lighting up a cigarette, as that old man dancing on the wire. Another traveling with the gypsies. A handkerchief around your head; a horsedrawn yellow caravan, pulled up in a field; a rabbit stew, simmering and bubbling on the fire otuside the c a r a v a n ; licking and sucking your fingers as you eat spoonfuls of the stew.

It has above all to do with the

elements.

T h e wind, the soft rain; sitting on the back of an old truck m o v i n g clothes and baskets of possessions while the gentle rain is falling, laughing, crouching under a shawl to keep from getting w e t , but getting wet. E a t i n g a loaf of bread, torn in pieces, hunks of cheese cut crudely with a hatchet which is lying in the corner; red flowers

50

BEING

ALIVE

glistening in the rain along the roadside; banging on the w i n d o w of the truck to shout some joke. N o t h i n g to keep, nothing to lose. N o possessions, no security, no concern about possessions, and no concern about security: in this mood it is possible to do exactly w h a t makes sense, and nothing else: there are no hidden fears, no morals, no rules, no undercurrent of constraint, no subtle sense of concern for the form of what the people round about you are doing, and above all no concern for w h a t you are yourself, no subtle fear of other people's ridicule, no subtle train of fears which can connect the smallest triviality with bankruptcy and loss of love and loss of friends and death, no ties, no suits, no outward elements of majesty at all. O n l y the laughter and the rain.

And it happens And

when

our inner forces

are

resolved.

when a person's forces are resolved, it makes us no other unexpected forces lurking under-

feel at home, because w e k n o w , by some sixth sense, that there are ground. He acts according to the nature of the situations he is in, without distorting them. T h e r e are no guiding images in his behavior, no hidden forces; he is simply free. A n d so, we feel relaxed and peaceful in his company.

Of course,

in practice are.

we often

don't

know

just

what

our inner forces

51

THE

QUALITY

W e live, for months, for years, acting in a certain w a y , not k n o w i n g whether w e are free or not, doubting, not even sure w h e n w e are successfully resolved, and w h e n w e aren't.

Yet forces

still are

there when

are

those

special

secret

moments all

in our

our lives,

we smile

unexpectedlywhen

resolved.

A w o m a n can often see these moments in us, better than a man, better than w e ourselves even. W h e n w e k n o w those moments, w h e n w e smile, w h e n w e let go, w h e n w e are not on guard at a l l t h e s e are the moments w h e n our most important forces show themselves; whatever you are doing at such a moment, hold on to it, repeat i t for that certain smile is the best knowledge that w e ever have of w h a t our hidden forces are, and where they lie, and how they can be loosed.

We

cannot

be aware of these

most

precious

moments

when they are actually

happening.

In fact, the conscious effort to attain this quality, or to be free, or to be anything, the glance which this creates, will always spoil it. It is, instead, w h e n w e forget ourselves completely: playing the fool perhaps a m o n g a group of friends, or s w i m m i n g out to sea, or w a l k i n g simply, or trying to finish something late at night over a table with a group of friends, cigarette stuck to l o w e r lip, eyes tired, earnest concentration.

52

BEING

ALIVE

A l l these moments in my o w n l i f e I only k n o w them n o w , in retrospect.

Yet which

each

of us knows

from

experience

the

feeling

this quality

creates in us.

It is the time w h e n w e are most right, most just, most sad, and most hilarious.

And

for this reason,

each one of us can also buildings.

recognize

this quality We

when it occurs in

can identify the towns and seats, and kitchen

buildings, streets and sinks which have this

gardens, flower beds, chairs, tables, tablecloths, wine bottles, garden w e are free. W e need only ask ourselves which p l a c e s w h i c h towns, which buildings, which rooms, have made us feel like t h i s w h i c h of them have that breath of sudden passion in them, which whispers to us, and lets us recall those moments w h e n w e were ourselves. A n d the connection between the t w o b e t w e e n this quality in our o w n lives, and the same quality in our surroundingsis not just an analogy, or similarity. T h e fact is that each one creates the other. qualitysimply by asking whether they are like us w h e n

Places come us, we

which tend

have

this

quality, when it come help to

invite we have to life build.

this in It

quality towns is a

to in and self-

to life in us. And to make we which

this quality

buildings

53

THE

QUALITY

supporting, the quality

self-maintaining, of life. And

generating simply

quality. that

It is own we

we must seek it, for our in order alive. fact in all that

sakes, in our surroundings, can ourselves become

That is the central scientific

follows.

54

CHAPTER

P A T T E R N S OF EVENTS
In order to define this quality in ings and in towns} we must begin understanding that every place is of there. its character by certain patterns that keep on happening buildby given events

MV**1

We

know

what lives.

the quality

without

a name chapters,

is like this

in

our own

As we shall world the alive. exists

see in the next few

qualthe to are exists only

ity can only come to life in us when that we are part of. We the buildings without and The quality extent

it exists within alive live it it and it in first only in we

can come towns

a name

is circular:

in us, when

it exists

in our when

buildings-, we have we must

in our buildings,

ourselves. recognize above all,

To understand

this clearly, there.

that what a town or building by what is happening

is, is governed,

I mean this in the most general sense. Activities; events; forces; situations; lightning strikes; fish die; w a t e r flows; lovers quarrel; a cake burns; cats chase each other; a hummingbird sits outside my union; children born; grandparents go broke. . . . M y life is made of episodes like this. T h e life of every person, animal, plant, creature, is made of similar episodes. T h e character of a place, then, is given to it by the episodes which happen there. wind o w ; friends come by; my car breaks d o w n ; lovers' re-

Those place, simply

of us who too of all our

are concerned that all the experiences we experience

with life there,

buildings and but soul on the depend

tend of a not pat-

to forget

easily

on the physical which

environment,

terns of events

there.

62

PATTERNS W h a t is L i m a w h a t

OF

EVENTS thereeating on them; of the

is most m e m o r a b l e

anticuchos in the s t r e e t ;

small pieces of beef heart,

sticks, c o o k e d o v e r open coals, w i t h hot sauce on the flickering fire of the hot coals, the faces

the d a r k , badly lit n i g h t streets of L i m a , small carts w i t h sellers, s h a d o w y f i g u r e s g a t h e r e d r o u n d , to eat the beef hearts. O r in G e n e v a c h e s t n u t s , hot, in small paper bags, eaten in the a u t u m n mist, w a r m i n g the f i n g e r s . A n d , w h a t is it a b o u t the C a l i f o r n i a c o a s t t h e shock of the w a v e s , the hiss of the surf, s t a n d i n g on a r o c k w h i l e the w h i t e w a t e r hisses in, runs out, a dash across the w e t sand to the r o c k , before the sea c o m e s in a g a i n . A n d it is just the same indoors. T h i n k of a big r o o m , vast, huge windows, big empty fireplace, completely e m p t y , n o f u r n i t u r e at all, except an easel and a c h a i r Picasso's studio. Is this not m a d e entirely of the situations, the forces let loose by the c o n f i g u r a t i o n of events? And w h a t of a p a r t y a r o u n d a kitchen table, people wine

d r i n k i n g t o g e t h e r , c o o k i n g t o g e t h e r , d r i n k i n g w i n e , eati n g g r a p e s , t o g e t h e r p r e p a r i n g a s t e w of beef and a n d g a r l i c a n d t o m a t o e s w h i c h takes f o u r hours to c o o k a n d w h i l e it cooks, w e d r i n k , and t h e n , at last w e eat it. W h a t of the kind of m o m e n t w e r e m e m b e r most of all: the flickering c a n d l e s on the C h r i s t m a s tree, the small bell r i n g i n g , the children w a i t i n g , h o u r by h o u r , outside the door, peeping t h r o u g h the c r a c k , a n d f i n a l l y r u s h i n g in, w h e n they hear the t i n k l i n g of that small bell, a n d see the tree there, lit, w i t h f i f t y w h i t e and red candles, b u r n i n g , a n d the smell of singed pine needles w h e r e a t w i g c a u g h t fire w h i l e the candles w e r e being lit.

63

THE

QUALITY

W h a t of the process of scrubbing the floor, w o r k i n g the stiff bristles of the brush, and the pail of w a t e r , over the soft boards, with fibers breaking loose, and the smell of the soap that stays in the wood. O r saying goodbye, at a train, leaning through out, running along the platform. . . . O r , taking the Sunday walk, a family, abreast, in twos and threes, walking along the road, pushing the smallest child perhaps, the others lagging behind to look at frogs, and an old shoe. the w i n d o w of the train, w a v i n g , kissing, as the train pulls

These

patterns

of events

which

create

the

character

of a place are not necessarily

human

events.

T h e sunshine shining on the windowsill, the wind blowing in the grass are events t o o t h e y affect us just as much as social events. A n y combination of events, which has a bearing on our l i v e s a n actual physical effect on u s a f f e c t s our lives. I f , for example, there is a stream bed gouged in the rock outside my house, which fills each time it rains, this is a situation which has a powerful effect on the character of the environment, yet is not a human situation at all.

Compare with vironment,

the power purely

and

importance concern

of these aspects themselves

events enwith.

the other

geometrical

of the

which- architects

64

PATTERNS

OF

EVENTS

C o m p a r e , for instance, t w o ways of including water in a building. Suppose, on the one hand, that there is a concrete reflecting pool outside your r o o m w i t h no purpose except to reflect the sky. A n d suppose, on the other hand, that there is a stream outside your room, with a small r o w i n g boat on it, where you can go, to r o w , lie on the water, struggle against the stream, tip over . . . .

Which building?

of these The

two makes rowing experience

the most of of the

difference

to

the it

boat,

course, building.

because

alters the entire

It is the action of these moments, the people involved in them, and the peculiar situations, which make the impression on our lives. T h e life of a house, or of a t o w n , is not given to it, directly, by the shape of its buildings, or by the ornament and p l a n i t is given to them by the quality of the events and situations we encounter there. A l w a y s it is our situations which allow us to be what we are. It is the people around us, and the most common ways we have of meeting them, of being with them, it is, in short, the ways of being which exist in our world, that make it possible for us to be alive.

We town

know,

then,

that what matters shape, that happen

in a building there.

or a

is not its outward but the events

its physical

geometry

alone,

65

THE It is all the

QUALITY happen therethe human

events which

events given by the situations which are repeated, the mechanical events, the rush of trains, the fall of water, the slow cracking of structures, the g r o w i n g of the grass, the melting of the s n o w , the rusting of iron, the flowering of roses, the heat of a summer's day, the cooking, loving, playing, dying, and not only of ourselves, but of the animals, and plants, and even of the inorganic processes which make the whole. Of course, some events happen once in a lifetime; others happen more o f t e n ; and some happen very often indeed. But although it is true that a unique event can sometimes change our lives completely, or leave its mark on us, it is not too much to say that, by and large, the overall character of our lives is given by those which keep on recurring over and over again. A n d , by the same token, it is roughly true that any system, any aspect of the life of a part of the world, is essentially governed by those situations, human or nonh u m a n w h i c h keep on repeating there. events

A building tially, by there most A

or a town those often. events

is given which

its character, keep on

essenhappening

field of grass is given its character, germination flowering

essentially,

by

those events which happen over and over againmillions upon millions of times. T h e seed, the blowing wind, the of the grass of the grass, the

66

PATTERNS movement sects . . . . of the worms,

OF the

EVENTS hatching of the in-

A car is given its character by the events which keep on happening t h e r e t h e rolling of the wheels, the movement of the pistons in the cylinders, the limited to and fro of the steering wheel and axle, as the car changes direction. A family is given its character by the particular events which keep on happening therethe these small affections, resolve kisses, breakfast, the particular kinds of arguments which keep on happening, the w a y arguments themselves, the idiosyncrasies of people, both together and alone, which make us love them . . . .

And life.

just

the same

is true in any -person's

individual

If I consider my life honestly, I see that it is governed by a certain very small number of patterns of events which I take part in over and over again. B e i n g in bed, having a shower, having breakfast in the kitchen, sitting in my study writing, walking in the garden, cooking and eating our common lunch at my office with my friends, going to the movies, taking my family to eat at a restaurant, having a drink at a friend's house, driving on the f r e e w a y , going to bed again. T h e r e are a f e w more. T h e r e are surprisingly few of these patterns of events in any one person's w a y of life, perhaps no more than a

67

THE

QUALITY

dozen. L o o k at your o w n life and you will find the same. It is shocking at first, to see that there are so f e w patterns of events open to me. N o t that I w a n t more of them. B u t w h e n I see how very few of them there are, I begin to understand w h a t huge effect these f e w patterns have on my life, on my capacity to live. I f these f e w patterns are good for me, I can live well. If they are bad for me, I can't.

Of course, much culture. from

the standard person

patterns

of events and from

vary culture

very to

to person,

F o r a teenage boy, at high school in L o s Angeles, his situations include hanging out in the corridor with other boys; watching television; sitting in a car with his girlfriend at a drive-in restaurant eating coke and hamburgers. F o r an old w o m a n , in a European mountain

village, her situations include scrubbing her front doorstep, lighting a candle in the local church, stopping at the market to buy fresh vegetables, w a l k i n g five miles across the mountains to visit her grandson.

But each town, a particular to its prevailing

each neighborhood, patterns culture.

each building, of events

has

set of these

according

A person can modify his immediate situations. He

can

move, change his life, and so on. I n exceptional cases he can even change them almost wholly. B u t it is not possible

68

PATTERNS

OF

EVENTS

to go beyond the bounds of the collection of events and pattern of events which our culture makes available to us.

We

have

a glimpse,

theny

of the fact that our fact that certain for much the

world patterns repeatgreater

has a structurey of eventsboth ing, and

in the simple human which essentiallyy

and nonhumankeep happen there.

account,

part of the events

O u r individual lives are made from them . . . our lives together . . . they are the rules,

so are through

which our culture maintains itself, keeps itself alive, and it is by building our lives, out of these patterns of events, that w e are people of our culture . . . . T h e r e is no aspect of our lives which is not governed by these patterns of events. A n d if the quality without a name can come into our lives at all, it is clear that it depends entirely on the specific nature of these patterns of events from which our world is made.

And cause selves

indeedy these

the world patterns of

does have events in the

a structurey which space. repeat

just

be-

them-

are always anchored

I cannot imagine any pattern of events without imagining a place w h e r e it is happening. I cannot think of sleeping, without imagining myself sleeping somewhere. Of course, I can imagine myself sleeping in many different kinds of p l a c e s b u t these places all have at least certain physical geometrical characteristics in common. A n d I can-

69

THE

QUALITY

not think about the place without also k n o w i n g , or imagining, w h a t happens there. I cannot think of a bedroom, without imagining the bed, lovemaking, sleeping, dressing perhaps, w a k i n g up . . . breakfast in bed . . . .

Consider, we might

for

example,

the

pattern go

of events by."

which

call "watching

the world

W e sit, perhaps slightly raised, on the front porch, or on some steps in a park, or on a cafe terrace, with a more or less protected, sheltered, partly private place behind us, looking out into a more public place, slightly raised above it, watching the world go by.

I cannot

separate

it from

the porch

where

it

occurs.

T h e action and the space are indivisible. T h e action is supported by this kind of space. T h e space supports this kind of action. T h e t w o form a unit, a pattern of events in space. T h e same in a barbershop. Inside, barbers, customers sitting in a row along one side, chairs for haircuts in another r o w , widely spaced, facing the mirrors, the barber idly talking while he cuts your hair, bottles of pomade around, hair dryer lying on the table, a basin in front for rinsing, a strop h a n g i n g on the wall, for stropping the razors . . . . A g a i n , the activity and its physical space are one. T h e r e is no separating them.

70

PATTERNS Indeed, a culture always

OF defines

EVENTS its -pattern of culture. events of

by referring space which

to the names are "standard"

of the physical in that

elements

If you look back at the patterns of events that I have mentioned, each one is almost completely defined by the spatial character of the place where it occurs. T h e barbershop, the porch, the shower, the study with its writing desk, the garden with its path, the bed, the communal lunch table, the cinema, the freeway, the high school corridor, the television set, the drive-in restaurant, the front doorstep, the candlestand at the back of the church, the market with its vegetable stalls, the mountain path. E a c h of these elements defines a pattern of events.

And given

the mere town tells

list of elements

which

are typical

in a

us the way of life of people

there.

W h e n you think of L o s Angeles, you think of freeways, drive-ins, suburbs, airports, gas stations, shopping centers, swimming pools, hamburger joints, parking lots, beaches, billboards, supermarkets, free-standing one-family houses, front yards, traffic lights . . . . W h e n you think of a medieval European t o w n , you think of the church, the marketplace, the town square, the wall around the t o w n , the town gates, narrow winding streets and lanes, rows of attached houses, each one containing an extended family, rooftops, alleys, blacksmiths, alehouses . . . . In each case the simple list of elements is intensely evoc-

71

THE

QUALITY

ative. T h e elements are not just dead pieces of architecture and b u i l d i n g e a c h one has an entire life associated with it. T h e names of the elements make us imagine and remember w h a t people are doing in those elements, and w h a t life is like in an environment which has those elements.

This

does not mean them.

that space creates

events,

or

that

it causes

F o r example, in a modern

t o w n , the concrete

spatial

pattern of a sidewalk does not " c a u s e " the kinds of human behavior which happens there. W h a t happens is much more complex. T h e people on the sidewalk, being culture-bound, k n o w that the space which they are part of is a sidewalk, and, as part of their culture, they have the pattern of a sidewalk in their minds. It is this pattern in their minds which causes them to behave the w a y that people do behave on sidewalks, not the purely spatial aspect of the concrete and the walls and curbs. A n d this means, of course, that in t w o cultures, people may see sidewalks differently, that is, they may have different patterns in their m i n d s a n d , that they will, as a result, act differently on the sidewalks. F o r example, in N e w Y o r k , a sidewalk is mainly a place for w a l k i n g , jostling, m o v i n g fast. A n d by comparison, in Jamaica, or India, a sidewalk is a place to sit, to talk, perhaps to play music, even to sleep. It is not correct to interpret this by saying that the t w o sidewalks are the same. 72

PATTERNS It simply means from that

OF

EVENTS of events it occurs. both cannot he

a pattern

separated

the space where

E a c h sidewalk is a unitary system, which includes

the field of geometrical relationships which define its concrete geometry, and the field of human actions and events, which are associated with it. So w h e n w e see that a sidewalk in Bombay is used by people sleeping, or for parking cars . . . and that in N e w Y o r k it is used only for w a l k i n g w e cannot interpret this correctly as a single sidewalk pattern, with t w o different uses. T h e B o m b a y sidewalk (space -f- events) is one pattern; the N e w Y o r k sidewalk (space -J- events) is another pattern. T h e y are t w o entirely different patterns.

This

close

connection

between in nature.

patterns

of events

and

space is commonplace

T h e word " s t r e a m " describes a pattern of physical space and a pattern of events, at the same time. W e do not separate the stream bed from the stream. T h e r e is no distinction in our minds between the bed of the stream, its banks, its winding configuration in the land, and the rushing of the water, the g r o w t h of plants, the s w i m m i n g of the fish.

And, govern

in the life

same in

wayy the patterns and in they

of events towns occur. cannot

which be

buildings

separated

from

the space where

E a c h one is a living thing, a pattern of events in space,

73

THE

QUALITY thing

just like a stream, a waterfall, a fire, a s t o r m a elements from which the world is made.

which happens, over and again, and is exactly one of the A n d it is therefore clear that w e can only understand these patterns of events by seeing them as living elements of space themselves. It is t;he space itself which lives and breathes; it is the space which is the walking, jostling sidewalk in tern of events we also call watching the world go by. New Y o r k ; it is the space w e call the porch, which is the pat-

The space

lije

which anchored

happens

in a building

or a town is not up from the

merely

in the space but made

itself.

F o r since space is made up of these living elements, these labeled patterns of events in space, we see that what seems at first sight like the dead geometry we call a

building or a town is indeed a quick thing, a living system, a collection of interacting, and adjacent, patterns of events in space, each one repeating certain events over and over again, yet always anchored by its place in space. A n d , if we hope to understand the life which happens in a building or a town, w e must therefore try to understand the structure of the space itself.

We pletely patterns

shall

now try to find some yields its patterns

way of of events one.

understandin a comin seeing

ing space which natural

way, so that we can succeed and space, as

of events,

74

CHAPTER

P A T T E R N S OF SPACE
These locked building patterns of events are always with certain geometric and each town is interin

patterns ultimately

the space. Indeed,

as we shall see, each space,

made out of these patterns in the and out of nothing building atoms and the molecules or a town is

else: they are the from which a made.

%ipyJlij

We basic made

are now -problem of?

ready

to come

to grips What blocks

with is its of

the What which and and there

most is it physical its any patthe linked, of do way with

of a building are the from

or a town:

What What made?

is its structure? building

essence? space is We building terns most-,

know,

chapter keep

4, that any town from those of events are on happening events

gets its character which the and to that

of events

patterns

somehow,

space. we do not know with of a building outward geometryis fust what aspect the events. or a town structurethe interlocked We

So far, though, not have a picture its events.

the space it is that correlates shows these us how its obvious physical

which

it looks,

Suppose I w a n t to understand the " s t r u c t u r e " of something. Just w h a t exactly does this mean? I t means, of course, that I w a n t to make a simple picture of it, which lets me grasp it as a whole. A n d it means, too, that as far as possible, I w a n t to paint this simple picture out of as few elements as possible. T h e f e w e r elements there are, the richer the relationships between them, and the more of the picture lies in the " s t r u c t u r e " of these relationships. A n d finally, of course, I w a n t to paint a picture which allows me to understand the patterns of events which keep on happening in the thing whose structure I seek. I n other words, I hope to find a picture, or a structure,

81

THE

QUALITY

which will, in some rather obvious and simple sense, account for the outward properties, for the pattern of events of the thing which I am studying. W h a t then, is the fundamental " s t r u c t u r e " of a building or a town ?

In the crudest roughly what

sensey

we know

from

the last

chapter is.

the structure

of a town

or building

I t is made up of certain concrete elements, with every element associated with a certain pattern of events.

On

the

geometric of

level> endlesslyy

we see certain combined

physical

eleend-

ments

repeating

in an almost

less variety

combinations.

A town is made of houses, gardens, streets, sidewalks, shopping centers, shops, workplaces, factories, perhaps a river, sportgrounds, parking . . . A^building is made up of walls, windows, doors, rooms, ceilings, nooks, stairs, staircase treads, doorhandles, terraces, counter tops, again. A gothic cathedral is made of a nave, aisles, west door, transept, choir, apse, ambulatory, columns, w i n d o w s , buttresses, vaults, ribs, w i n d o w tracery. A modern metropolitan region in the United States is made of industrial areas, freeways, central business districts, supermarkets, parks, single-family houses, gardens, high-rise housing, streets, arteries, traffic lights, sidewalks. flowerpots . . . repeated over and

82

PATTERNS And events each of these elements it.

OF

SPACE pattern of

has a specific

associated

with

Families living in the houses, cars and buses driving in the streets, flowers g r o w i n g in the flower pots, people w a l k i n g through the doors, opening and closing them, traffic lights changing, people gathering for mass on Sundays in the nave of the cathedral, forces acting on the vaults, w h e n the wind sways the building, light coming through the windows, people sitting at the w i n d o w s in their living rooms and looking at the view . . . .

But

this

picture

of space

does of

not

explain

howor with defi-

whythese

elements

associate patterns

themselves events.

nite and quite specific

W h a t is the relation between a church, say, taken as an e l e m e n t a n d the pattern of events which happens in the church? It is all very well to say that they are connected. B u t unless w e can see some kind of common sense in the connection, it explains nothing. It is certainly not enough merely to say glibly that every pattern of events resides in space. T h a t is obvious, and not very interesting. W h a t w e w a n t to know is just how the structure of the space supports the patterns of events it does, in such a w a y that if w e change the structure of the space, w e shall be able to predict w h a t kinds of changes generate. I n short, w e w a n t a theory which presents the interaction in the patterns of events this change will

83

THE

QUALITY

of the space and the events, in a clear and unambiguous way.

Furthery ments" keep occur.

it is very which seem

puzzling like

to realize every

that building time

the that

aele-

elementary

blocksy they

varyingy

and are different

F o r a m o n g the endless repetition of elements we also see an almost endless variation. E a c h church has a slightly different nave, the aisles are different, the west door is different . . . and in the nave, the various bays are usually different, the individual columns are different; each vault has slightly different ribs; each w i n d o w has a slightly different tracery and different glass. A n d just so in an urban region. E a c h industrial area is different; each f r e e w a y is different; each park is different; each supermarket is d i f f e r e n t e v e n the smaller individual elements like traffic lights and stop signs, although very similar, are never quite the s a m e a n d there is always a variety of types.

If

the

elements

are

different

every

time

that

they themthese con-

occury evidently so-called stituents elements of

theny it cannot

be the elements or a town: "atomic"

selves which are repeating space.

in a building

cannot be the ultimate

Since every church is different, the so-called element we call " c h u r c h " is not constant at all. G i v i n g it a name

84

PATTERNS

OF

SPACE

only deepens the puzzle. If every church is different, what is it that remains the same, from church to church, that we call " c h u r c h " ? W h e n we say that matter is made of electrons, protons, and so forth, tin's is a satisfying w a y of understanding things, because these electrons seem, indeed, to be the same each time that they occur, and it therefore makes sense to show how matter can be built up from combinations of these " e l e m e n t s , " because the elements are truly elementary. But if the so-called elements of which a building or a town is m a d e t h e houses, streets, windows, d o o r s a r e merely names, and the underlying things which they refer to keep on changing, then w e have no solidity at all in our picture, and we need to find some other elements which truly are invariant throughout the variation, in a w a y that we can understand a building or a town as a structure made up by combination of these elements.

Let

us therefore to find

look

more which

carefully a building

at the

strucis

ture of the space from madey there. out what

or a town

it really

is that is

repeating

W e may notice first that over and above the elements, there are relationships between the elements which keep repeating too, just as the elements themselves repeat. . . .

Beyond

its elements

each

building among

is defined the

by

cer-

tain patterns

of relationships

elements.

85

THE

QUALITY

In a gothic cathedral, the nave is flanked by aisles which run parallel to it. T h e transept is at right angles nave and aisles; the ambulatory is wrapped outside of the apse; the columns are vertical, vault connects jour shape, cross-like columns, and has a to the the Each around

on the line characteristic

separating nave from aisle, spaced at equal intervals. in plan, concave

in space. T h e buttresses

are run d o w n the outside of the aisles, on the same lines as the columns, supporting the load from the vaults. T h e nave is always a long thin rectangleits between 1:3 and 1:6, but is never 1:2 aisles are always narrower than the nave. ratio may vary or 1:20. The

And terns

each urban region, of relationships a typical

too, is defined among its

by certain

fat-

elements. American center of

Consider

mid-twentieth-century the

metropolitan region. Somewhere towards

the region, there is a central business district, which contains a very high density office block; near these there are high density apartments. law; The overall density of the region slopes off with distance from the center, to an exfonential subsidiary according

-periodically there are again peaks peaks, there are still smaller Towards the

of higher density, but smaller than the central ones; and to these smaller peaks. E a c h of these peaks of density contains stores and offices surrounded freestanding center by higher density housing. the outer fringe of the metropolis there are large areas of one-family houses; the farther out from they arc, the larger their gardens. T h e region is

86

PATTERNS served by a network closer together ways, there is a roughly

OF

SPACE freeways are network

of freeways. T h e s e

at the center. Independent of the freeregular two-dimensional

of streets. Every five or ten streets, there is a larger one, which functions as an artery. A f e w of the arteries are even bigger than the others: these tend to be arranged radially, fashion. Where where branching out from the center in a arrangement there star-shaded lanes. light; the W h e r e an artery meets a f r e e w a y , there is a of connecting is a traffic t w o arteries intersect,

characteristic cloverleaf

a local street meets an artery, there is a stop sign. with

T h e m a j o r commercial areas, which coincide

high density peaks in the density distribution, all fall on the m a j o r arteries. Industrial areas all fall within at least one m a j o r artery. half a mile of a f r e e w a y ; and the older ones are also close to

Evidently, building For both

then,

a large

fart

of the "structure" of and

of a

or a town consists the city of Los

of patterns Angeles

relationships. the medieval

church get their respective characters as much from these repeating patterns of relationships, as they do from the elements themselves

At

first

sight,

it seems are separate

as though from the

these

patterns

of

relationships

elements.

T h i n k of the aisle of the cathedral. I t is parallel to the nave, and next to it, it shares columns with the nave, it

87

THE

QUALITY

runs east-west, like the church itself, it contains columns, on its inner wall, and w i n d o w s on its outer wall. A t first sight, it seems that these relationships are " e x t r a , " over and above the fact of its being an aisle.

When ships deed

we look a part of

closer, them.

we realize

thai

these

relationin-

are not extra,

but necessary

to the elements,

W e realize, for instance, that if an aisle were not parallel to the nave, were not next to it, were not n a r r o w e r than the nave, did not share columns with the nave, did not run east to west, . . . that it would not be an "aisle" at all. I t would be merely a rectangle of space, in gothic construction, floating free . . . and w h a t makes it an aisle, specifically, is just the pattern of relationships which it has to the nave, and other elements around it.

When view true ments: patterns

we look is still that the of the

closer

still,

we realize For are

that to

even the

this merely eleare

not very fact is that

accurate. the

it is not

relationships relationships.

attached

elements

themselves

F o r , once w e recognize that much of w h a t w e think of as an " e l e m e n t " in fact lies in the pattern of relationships between this thing and the things in the world around it, w e then come to the second even greater realization, that the so-called element is itself nothing but a myth, ( and that indeed, the element itself is not just embedded in a

88

PATTERNS

OF

SPACE

pattern of relationships, but is itself entirely a pattern of relationships, and nothing else. In short, the aisle, which needs the pattern of relationships to the nave and the east w i n d o w to define it, is itself also a pattern of relationships between its length, its width, the columns which lie on the boundary with the nave, the w i n d o w s which lie on the outer boundary . . . .

And solve, which

finally, and is the

the things leave stuff that

which of

seem

like repeats

elements itself,

disbehind, and

a fabric

relationships or a town.

actually

gives the structure

to a building

In short, we may forget about the idea that the building is made up of elements entirely, and recognize instead, do the deeper fact that all these so-called elements are only labels for the patterns of relationships which really repeat. T h e f r e e w a y , as a whole, does not repeat. B u t the fact that there are cloverleafs which connect the freeway to roads at certain i n t e r v a l s t h a t does repeat. T h e r e is a certain relationship between the freeway and its crossing arteries and cloverleafs, which does repeat. B u t once again, the cloverleaf itself E a c h cloverleaf is different. W h a t does not repeat. does repeat is that

each lane forms a continuously curving off ramp to the r i g h t t h e r e is a relationship between its radius, its tangency, the fact that it is banked, which does repeat. Y e t once again the " l a n e " which figures in this pattern of relationships does not repeat. W h a t we call a lane is itself

89

THE

QUALITY

a relationship a m o n g still smaller so-called e l e m e n t s t h e edges of the road, the surface, the lines which form the edge . . . and these again, although they function temporarily as elements, in order to make these relations clear, themselves evaporate w h e n w e look closely at them.

Each which

one

of these

patterns

is a morphological in space.

lawy

establishes

a set of relationships

T h i s morphological l a w can always be expressed in the same general f o r m : X > r ( A , B , . . . ) , which means: W i t h i n a context of type X , the parts A , B , . . . are related by the relationship r. T h u s , for example: W i t h i n a gothic cathedral > the nave is flanked on both sides by parallel aisles. or: W h e r e a freeway meets an artery > the access ramps of the interchange take the rough form of a cloverleaf.

And ships just

each law or pattern among patterns still other

is itself lawsy

a pattern which are

of

relationthemselves

of relationships

again.

F o r though each pattern is itself apparently composed of smaller things which look like parts, of course, w h e n w e look closely at them, w e see that these apparent " p a r t s " are patterns too.

90

PATTERNS

OF

SPACE

Consider, for example, the pattern w e call a door. T h i s pattern is a relationship a m o n g the frame, the hinges, and the door itself: and these parts in turn are made of smaller parts: the frame is made of uprights, a crosspiece, and cover mouldings over joints; the door is made of uprights, crosspieces and panels; the hinge is made of leaves and a pin. Y e t any one of these things we call its " p a r t s " are themselves in fact also patterns, each one of which may take an almost infinite variety of shapes, and color and exact s i z e w i t h o u t once losing the essential field of relationships which make it w h a t it is. T h e patterns are not just patterns of relationships, but patterns of relationships a m o n g other smaller patterns, which themselves have still other patterns hooking them t o g e t h e r a n d w e see finally, that the world is entirely made of all these interhooking, interlocking nonmaterial patterns.

Further, events

each associated

pattern with

in the it.

space

has a pattern

of

F o r instance, the pattern of the freeway contains a certain fabric of events, defined by rules: drivers drive at certain speeds; there are rules governing the w a y that people may change lanes; the cars all face the same w a y ; there are certain kinds of overtaking; people drive a little slower on the entrances and exits . . . . A n d the pattern of a kitchen, in any given culture, also contains a very definite pattern of events: the w a y that people use the kitchen, the w a y that food is prepared, the

91

THE

QUALITY

fact that people eat there, or don't eat there, the fact that they wash the dishes standing at the sink . . . and on and on . . .

Of course, pattern of

the pattern events.

of space,

does not "cause"

the

Neither does the pattern of events " c a u s e " the pattern in the space. T h e total pattern, space and events together, is an element of people's culture. It is invented by culture, transmitted by culture, and merely anchored in space.

But each

there it

is a fundamental of events, and happens.

inner the

connection pattern

between in

pattern

of space

which

F o r the pattern in the space is, precisely, the precondition, the requirement, which allows the pattern of events to happen. In this sense, it plays a fundamental role in making sure that just this pattern of events keeps on repeating over and over again, throughout the space, and that it is, therefore, one of the things which gives a certain building, or a certain town, its character.

Go back, for example, the pattern of events porch, watching

to the porch we may go call by."

of chapter "sitting

4, and on the

the world

W h a t aspect of the space is it which is connected to this pattern of events? Certainly it is not the whole porch,

92

PATTERNS

OF

SPACE

in its entirety: it is instead, just certain specific relationships. F o r instance, in order for the pattern of events " w a t c h ing the world go b y " to happen, it is essential that the porch should be a little raised above the level of the street; it is essential that the porch be deep enough, to let a group of people sit there comfortably; and it is essential, of course, that the front of the porch be open, pierced with openings, and that the roof is therefore supported on columns.

It is this bundle cause these with the pattern

of relationships of events.

which

is essential}

be-

are the ones which

are directly

congruent

B y contrast, the length of the porch, its height, its color, the materials of which it is made, the height of the side walls, the w a y the porch connects up with the inside of the house, are less essentialso they can vary, without altering porch. the fundamental and essential nature of the

And

in this same

sense,

each pattern with some

of

relationships pattern of

in space events.

is congruent

specific

T h e pattern of relationships we call a " f r e e w a y " is just that pattern of relationships required by the process of driving fast with limited access to and from side roads: in short the pattern of events.

93

THE

QUALITY

T h e pattern of relationships w e call a Chinese " k i t c h e n " is just that pattern of relationships required for cooking Chinese food: again the underlying pattern of events. A n d insofar as there are different " k i n d s " of kitchens, there are different patterns of relationships, responsible for slightly different patterns of events, in different cultures, which have different patterns of cooking. In every case the pattern of relationships in space is that invariant which must repeat itself with some pattern of events, because it is exactly these relationships which are required to sustain that pattern of events.

We

realize

then

that it is just are repeating

the patterns in the building

of

events or the

in space

which

town: and nothing else.

N o t h i n g of any importance happens in a building or a town except w h a t is defined within the patterns which repeat themselves. F o r w h a t the patterns do is at the same time seize the outward physical geometry, and also seize w h a t happens there. T h e y account entirely for its geometrical structure: they are the visible, coherent stuff that is repeating, and coherent there: they are the background of the variation, which makes each concrete element a little different. A n d , at the same time, they are also responsible for those events which keep repeating there, and therefore do the most to give the building or a town its character . . .

94

PATTERNS Each which building keep

OF

SPACE from just the patterns

gets its character there.

on repeating

T h i s is not only true of general patterns; it is true of the entire building: all its details; the shape of rooms, the character of ornament, the kind of windowpanes it has, the boards of which the floor is made, the handles on the doors, the light, the height, the w a y the ceilings vary, the relationship of w i n d o w s to the ceiling, the connection of the building to the garden and the street, and to the spaces and the paths and to the detailed seats, and walls which are around it. . . .

Each there.

neighborhood by the

is dejined) patterns

tooy in everything keep on

that

matters,

which

repeating

A g a i n , it is just those details which give the neighborhood a " c h a r a c t e r " which are defined by patterns: the kind of streets which it has, the kind of lots the houses are; the typical size of houses, the w a y that the houses are connected or distinct. . . . Isn't it true that the features which you remember in a place are not so much peculiarities, but rather the typical, the recurrent, the characteristic features: the canals of Venice, the flat roofs of a M o r o c c a n town, the even spacing of the fruit trees in an orchard, the slope of a beach towards the sea, the umbrellas of an Italian beach, the wide sidewalks, sidewalk cafes, cylindrical poster board-

95

THE

QUALITY

use of two-inch bricks in Georgian houses, the ratio of bathroom area to house area, compared with that typical of an A m e r i c a n house, the use of flagstones on the sidewalks. T h e n d o w n to the tiniest details of a l l t h e special shape of English telegraph pole. A g a i n , in each case the patterns define all the typical events which happen there. So " L o n d o n , " as a w a y of life, lies there completely in these patterns which the L o n doners create, and fill with the events that are exactly congruent with them. faucets, the kinds of handles on an English metal w i n d o w , the shape of the insulators on a

Andy what is most the patterns is rather One small. imagine

remarkable

of ally the number or a town is

of made

out of which

a building

might

that

building

has

thousand of

different patterns in it; thousands. . . .

or that a t o w n

has tens

B u t the fact is that a building is defined, in its essentials, by a f e w dozen patterns. A n d , a vast town like L o n d o n , or Paris, is defined, in its essence, by a f e w hundred patterns at the most. I n short, the patterns have enormous power and depth; they have the p o w e r to create an almost endless variety, they are so deep, so general, that they can combine in millions upon millions of different ways, to such an extent, that w h e n w e w a l k through Paris w e are mainly overwhelmed by the variety; and the fact that there are these deep invariants, lying behind the vast variety, and

98

PATTERNS

OF

SPACE

generating it, is really an a m a z i n g shock. . . . In this sense, the patterns are perhaps still deeper and more p o w e r f u l than the discussion has made clear so far. F r o m a handful of patterns, a vast, almost incalculable variety can be m a d e : and a building, with all of its complexity and variety, is generated, actually, by a small number of them.

They

are the atoms

of our man-^made

universe.

I n chemistry we learn that the w o r l d , in all of its complexity, is made up from combinations of some 92 elements, or atoms. T h i s is an extraordinary fact, a m a z i n g \to a person w h o learns chemistry for the first time. It is true that our conception of these atoms has changed repeatedly far f r o m being the little billiard balls w e once thought, we k n o w that they are shifting patterns of particles and w a v e s a n d that even the most " e l e m e n t a r y " p a r t i c l e the e l e c t r o n i s itself a ripple in the stuff of the universe, not a " t h i n g . " H o w e v e r , all these changing views do not alter the fact that at the level of scale 'where atoms occur, they do occur, as identifiable recurrent entities. A n d even if vast changes occur in physics, and we one day recognize that these so-called atoms are also merely ripples in a deeper field, the fact that there are entities of some kind which correspond to the things w e once called atoms will remain. Just so, we realize n o w , that at the larger scale of towns and buildings, the world is also made of certain fundamental " a t o m s " t h a t each place is made from a

99

THE But in a courtyard which conflict where

QUALITY the -pattern of the paths is missing, no a way that opening there one are can

and veranda forces resolve

and crossing himself.

in such

them for

Consider,

for example,

dead courtyard

surrounded

by

walls on all sides, with no porch or h a l f w a y space between the indoors and the outdoors, and with no more than one path leading out to it. In this place, the forces are in conflict. People w a n t to go out, but their place halfway timidity, which makes them seek a them. They to the outdoors, prevents

w a n t to stay out, but the claustrophobic quality, and the enclosure, sends them back inside again. T h e y hope to be there, but the lack of paths across the courtyard make it a dead and rarely visited place, which does not beckon dead them, and which instead tends to be filled with

leaves, and forgotten plants. T h i s does not help them come to lifeinstead it only causes tension, and frustrates them, and perpetuates their conflicts.

110

PATTERNS And dow life.

WHICH even

ARE

ALIVE A come winto

the same can happen with a "window

In a window: a person

place"

helps

Everyone k n o w s how beautiful a room is w h e n it has a bay window in it, or a w i n d o w seat, or a special ledge next to the w i n d o w , or a small alcove which is entirely glassed. T h e feeling that rooms with these kinds of places in them are especially beautiful is not merely whimsy. It has a fundamental organic reason behind it. W h e n you are in a living room for any length of time, t w o of the many forces acting on you are the f o l l o w i n g : 1. Y o u have a tendency to go towards the light. People are phototropic, is. 2. If you are in the room for any length of time, you probably want to sit down, and make yourself that is a your comfortable. In a room which has at least one w i n d o w a wide low windowsill that invites you " p l a c e " a w i n d o w seat, a bay w i n d o w , a window with to pull favorite chair over to it because you can see out so easily, a special ledge next to the w i n d o w , or a small alcove which is entirely glassedin this room you can give in to both forces: you can resolve the conflict for yourself. In short, you can be comfortable. biologically, so that it is

often comfortable to place yourself where the light

But a room windows conflict

which

has no window "holes'' I can't sets resolve.

place, up

in which

the inner

are just in me which

a hopeless

in

THE And

QUALITY of the argument

now we see just- how the circle itself.

completes

In our o w n lives, we have the quality without a name w h e n w e are most intense, most happy, most wholehearted. T h i s comes about w h e n w e allow the forces w e experience to run freely in us, to fly past each other, w h e n w e are able to allow our forces to escape the locked-in conflict which oppresses us. B u t this freedom, this limpidity, occurs in us most easily w h e n we are in a world whose patterns also let their forces loose . . . because, just as we are free w h e n our o w n forces run most freely within us, so the places w e are in are also free w h e n their o w n forces ( w h i c h include the forces that arise in us) themselves run free, and are themselves resolved . . .

The

quality

without depends

a name

in us, our liveliness, on the patterns they have this in us. in

our the quality

thirst for life, world, themselves. Patterns But they

directly to which release quality

and the extent which release live,

this quality

this

in us, essentially

be-

cause they have it in

themselves.

122

CHAPTER

T H E M U L T I P L I C I T Y OF LIVING PATTERNS
The more living thinga townthe entirety, patterns there are in a or a the more it

room, a building, the more it glows, a name.

more it comes to life as an fire, which is

has this self-maintaining the quality without

THE

QUALITY

leaking flow of water from above, within the b e a m i s suddenly unstable and inadequate also, because the context and the forces which it tries to put in balance, have changed.

In the endy the whole

system

must

collapse.

T h e slight stress caused by the overflow of forces from these first unstable patterns spreads first to nearby patt e r n s a n d then spreads still further, since these nearby patterns become unstable and destructive too. T h e delicate configuration which is self-creating, and in balance with its forces, is for some reason i n t e r r u p t e d prevented from occurring, placed in a position in which its configuration can no longer recreate itself. W h a t then happens to the forces in this system? So l o n g as the self-creating balanced configuration existed, the forces w e r e in balance. B u t once the configuration is put out of balance, these forces remain in the system, unresolved, wild, out of balance, until in the end, the whole system must collapse.

By and

contrasty out

assume of which

now the

that

each

one

of the is

fifty alive

patterns

building

is made

self-resolving.

In this case just the opposite occurs. E a c h pattern encompasses, and contains, the forces which it has to deal w i t h ; and there are no other forces in the system. U n d e r

130

MULTIPLICITY these circumstances, solved. T h e

OF

LIVING

PATTERNS happens is re-

each event

which

forces come into play, and resolve

them-

selves, within the patterns as they are.

Each

pattern

helps

to sustain

other

patterns.

T h e quality without a name occurs, not w h e n an isolated pattern occurs, but w h e n an entire system of patterns, interdependent, at m a n y levels, is all stable and alive. W e may see the sand ripples a n y w h e r e where we choose to put loose sand under the wind. B u t w h e n the wind blows across the sea, over the inland marshes, and the sand ripples support the dunes between the two, and the sandpiper walks out, the sand fleas hop, the shifting of the dunes is held in check by grasses which maintain themselves and the sandpiperthen we have a portion of the world, alive at m a n y levels at once, beginning to have the quality without a name.

The

individual

configuration

of any

one

pattern

re-

quires other patterns

to keep itself

alive.

F o r instance, a WINDOW PLACE is stable, and alive, only if many other patterns which g o with it, and are needed to support it, are alive themselves: for instance, LOW WINDOWSILL, to solve the problem of the view and the relation to the g r o u n d ; CASEMENT WINDOW to solve the problem of the w a y the air comes in, to allow people to lean out and breathe the outside air; SMALL PANES to

131

THE

QUALITY

let the w i n d o w generate a strong connection between the inside and the outside. If these smaller patterns, which resolve smaller systems of forces in the w i n d o w place, are missing from the w i n d o w place itself, then the pattern doesn't work. Imagine for instance a so-called w i n d o w place, with high windowsills, fixed w i n d o w s , and huge sheets of plate glass. T h e r e are so many subsidiary forces, still in conflict, that the w i n d o w place still cannot w o r k , because it still fails to resolve the special system of forces it is supposed to solve. T o be in balance, each pattern must be supported by a situation in which both the larger patterns it belongs to, and the smaller patterns it is made of, are alive. themselves

In an entrance cooperate.

which

is whole>

many

patterns

must

T r y to imagine an entrance which is whole. I have in mind an entry w a y , perhaps to a larger building: and for it to be whole, it must contain at least these elements: the arch, or beam, which brings the loads down from above; a certain heaviness perhaps, in the members which bring these forces down, and m a r k the edges of the entrance w a y ; a certain depth, or penetration, which takes the entrance a distance in, deep enough, so that the light is changing on the w a y through the entry way; some which see as ornament, around the a r c h w a y , or the opening, in some form, things that I would somehow

marks the entrance as distinct, and gives it lightness; and,

132

MULTIPLICITY

OF

LIVING

PATTERNS

" f e e t " t h i n g s sticking out, at the bases of the s i d e s they might be seats, the feet of columns, something anyw a y which connects the sides to the ground, and makes them one. N o w this entrance might be whole. I doubt though, if it could be whole with any less than that. So, somehow, this system of patterns, which I have loosely sketched, forms the basis for w h a t is needed in the entrance of a larger building: and these patterns are a system; they are interdependent. It is true that each one can be explained, in its o w n terms, as an isolated thing, which is needed to resolve certain forces. B u t , also, these f e w patterns form a whole, they w o r k as a system. . . .

The

same in a

neighborhood.

A g a i n there are certain rough patterns, more rooted in human events, in this case, which must be there together, in order for us to experience the neighborhood as whole. . . . A boundary, certainly, more or less clearly m a r k e d ; and gateways, not emphatic, but gently present, where piece of common land, with children playing, grazing maybe; seats where old people sit and in some what is happening; a focus to the w h o l e ; themselves, grouped the paths that pass in and out cross the boundaries: inside, a animals watch

the families

kind of clusters, so that workhouses

there are a visible number of them, not too many, for the neighborhood as a w h o l e ; water s o m e w h e r e ; shops and work, perhaps towards the boundary;

of course, too, but clustered; trees, s o m e w h e r e a n d sun-

133

THE

QUALITY

light somewhere too, intense in at least one place. N o w , the neighborhood begins to form a whole.

Now

we begin

to see what happens collaborate.

when

the

patterns

in the world

E a c h living pattern resolves some system of forces, or allows them to resolve themselves. E a c h pattern creates an organization which maintains that portion of the world in balance. A n d a building in which all the patterns are alive has no disturbing forces in it. T h e people are relaxed; the plants are comfortable; the animals pursue their natural paths; the forces of erosion are in balance with the natural process of repair which the configuration of the building encourages; the forces of gravity are in balance with the configuration of the beams and vaults, and columns, and the blowing of the w i n d ; the rainwater flows naturally, in such a w a y that it helps just those plants to g r o w which, for other reasons, are themselves in balance with the cracks in the paving stones, the beauty of the entrance, room the . . . . smell of roses in the evening outdoor

The

more

life-giving beautiful it

patterns seems.

there

are in a

building

the more

I t shows, in a thousand small ways, that it is made, with care and with attention to the small things w e need. might

134

MULTIPLICITY

OF

LIVING

PATTERNS

A seat, a n a r m r e s t , a d o o r h a n d l e w h i c h is c o m f o r t a b l e to h o l d , a t e r r a c e shaded f r o m the h e a t , a just along the e n t r a n c e where I can flower bend growing and down

s m e l l it as I pass into the g a r d e n , l i g h t f a l l i n g on the top of the stair, w h e r e it is d a r k , so that I c a n w a l k toward back milk it, color o n the d o o r , o r n a m e n t a r o u n d the d o o r , so that I k n o w , w i t h a s m a l l leap of the h e a r t , that I a m a g a i n , a cellar half d o w n into the g r o u n d , w h e r e a n d w i n e c a n be kept cool.

Just so in a town.
T h e t o w n w h i c h is alive, a n d b e a u t i f u l , f o r m e , s h o w s , in a t h o u s a n d w a y s , h o w all its institutions w o r k t o g e t h e r to m a k e people c o m f o r t a b l e , a n d d e e p seated in respect f o r themselves. P l a c e s o u t d o o r s w h e r e people eat, a n d d a n c e ; old people sitting in the street, w a t c h i n g the w o r l d g o b y ; borhood, free enough of their parents that places feel cars w h e r e t e e n a g e boys a n d girls h a n g out, w i t h i n the n e i g h they t h e m s e l v e s alive, a n d stay t h e r e ; car places w h e r e

are kept, shielded, if there are m a n y of t h e m , so that they d o n ' t oppress us by their p r e s e n c e ; w o r k g o i n g o n a m o n g the families, c h i l d r e n p l a y i n g w h e r e a n d l e a r n i n g f r o m it. work is g o i n g on,

And finally the quality without a name a-pfears> not when an isolated pattern livesy but when an entire system of fatternsy interdependent at many levelsy is all stable and alive.

135

THE

QUALITY

A building or a t o w n becomes alive w h e n e v e r y p a t t e r n in it is a l i v e : w h e n it a l l o w s each person in it, a n d eacli plant and a n i m a l , a n d e v e r y s t r e a m , a n d b r i d g e , and w a l l and r o o f , a n d e v e r y h u m a n g r o u p a n d e v e r y r o a d , to bec o m e alive in its o w n t e r m s . A n d as that happens, the w h o l e t o w n reaches the state that individual people s o m e t i m e s reacJi at their best and happiest m o m e n t s , w h e n they are most f r e e .

Remember the warm peach tree, flattened against the wall, and facing south. At this stage, the whole town will have this quality, simmering and baking in the sun of its own processes.

136

CHAPTER THE QUALITY

8 ITSELF

And when a building has this firey then it becomes a fart of nature. Like ocean wavesy or blades of grassy its farts are governed by the endless flay of repetition and varietyy created in the presence of the fact that all things pass. This is the quality itself.

I l i p i t i i f

tMmmmmm

 ' -I-"..

Finallyy in this last chapter of fart iy we shall see what happens geometricallyy when a building or a town is made entirely of patterns which are living. For when a town or building livesy we can always recognize its lifenot only in the obvious happiness which happens therey not only in its freedom and relaxednessbut in its purely physical appearance too. It always has a certain geometric character.
What happens in a w o r l d a building or a townin

w h i c h the patterns have the quality without a n a m e , and are alive? T h e most important thing w h i c h happens is that every part of it, at every level, becomes unique. T h e which control a portion of the w o r l d , overall configurations at are patterns themselves place. are This

fairly simple. B u t w h e n they interact, they create slightly different every happens because no t w o contributes to the places on earth in perfectly the

alike in their conditions. A n d each small difference, itself difference conditions which other patterns face.

This is the character of nature.

" T h e character of n a t u r e " is no mere poetic metaphor. I t is a specific morphological character, a geometric the w o r l d w h i c h are not m a n - m a d e . T o m a k e this character of nature clear, let m e contrast it with the character of the buildings being built today. O n e of the most pervasive features of these buildings is the fact character, w h i c h happens to be c o m m o n to all those things in

H3

THE

QUALITY

that t h e y are " m o d u l a r . " T h e y are f u l l of identical c o n crete blocks, identical in identical rooms, identical houses, buildings. identical The idea apartments apartment

that a b u i l d i n g c a n a n d o u g h t t o be m a d e of m o d u l a r units is one of the m o s t p e r v a s i v e assumptions of t w e n t i e t h century architecture. Nature similar is n e v e r modular. Nature is full of of almost units (waves, raindrops, blades grass)but

t h o u g h the units of one kind are all alike in their b r o a d s t r u c t u r e , no t w o are e v e r alike in detail. 1. T h e same broad f e a t u r e s keep r e c u r r i n g o v e r a n d over again. 2. I n their detailed a p p e a r a n c e these broad f e a t u r e s are n e v e r t w i c e the s a m e . On the one h a n d the same all o a k trees h a v e thickened twisted the s a m e trunk, the overall same proporof we shape,

c r i n k l e d b a r k , the s a m e shaped l e a v e s , the s a m e t w o trees are quite the same. T h e

tion of limbs to b r a n c h e s to t w i g s . O n the o t h e r h a n d , n o exact combination h e i g h t and w i d t h a n d c u r v a t u r e n e v e r repeats itself; c a n n o t e v e n find t w o l e a v e s w h i c h are the s a m e .

The ocean waves all have this character.

T h e p a t t e r n s out of w h i c h the w a v e is m a d e are a l w a y s the s a m e : the curl of the w a v e ; the drops of s p r a y ; the

s p a c i n g of the w a v e s ; the fact that r o u g h l y e v e r y s e v e n t h w a v e is l a r g e r than the others . . . T h e r e are not m a n y of these patterns. Y e t at the same time, the a c t u a l c o n c r e t e w a v e s t h e m selves are always different. This happens because the

144

THE

QUALITY

ITSELF interact differevery in the So

patterns i n t e r a c t d i f f e r e n t l y at e v e r y spot. T h e y d i f f e r e n t l y w i t h one a n o t h e r . A n d ently with the details of their actual w a v e p a t t e r n s are other waves. they i n t e r a c t time surroundings. as the

is d i f f e r e n t , at the same the same precisely

that all its

patterns

So do the drops within the waves.

The distinction b e t w e e n the " g l o b a l " p a t t e r n s and the Each

c o n c r e t e details is n o t a m a t t e r of size. W h a t is true for the w a v e s is also true f o r the i n d i v i d u a l droplets. again, under a finer microscope, each one is drop of a g i v e n size has m o r e or less the same s h a p e y e t , slightly global is d i f f e r e n t f r o m the n e x t . A t each scale there are is endless for hours; variety; and yet at the same time

invariants, and detailed variations. I n such a s y s t e m , there there endless sameness. N o w o n d e r w e c a n w a t c h the waves

n o w o n d e r that a blade of grass is still fas-

c i n a t i n g , e v e n a f t e r w e h a v e seen a million of t h e m . I n all this sameness, w e n e v e r feel oppressed by sameness. I n all this v a r i e t y , w e n e v e r feel lost, as w e do in the presence of variety w e c a n n o t u n d e r s t a n d .

Even the atoms have this character.

I t m a y surprise y o u to realize that the same rule even

holds f o r a t o m s . N o t w o a t o m s are the same. E a c h a t o m is slightly d i f f e r e n t , a c c o r d i n g to its i m m e d i a t e ment. I t is p a r t i c u l a r l y c r u c i a l to discuss this f a c t a b o u t atoms, environ-

145

THE

QUALITY for en-

because so m a n y people take " m o d u l a r " construction g r a n t e d . I f y o u c h a l l e n g e the builder of a m o d u l a r

v i r o n m e n t , a n d say that such an e n v i r o n m e n t c a n n o t be alive, he w i l l v e r y likely say that n a t u r e itself is built f r o m modular componentsnamely atoms have become the atomsand images that w h a t is of modular g o o d for n a t u r e is g o o d e n o u g h construction. B u t a t o m s are all unique, just like raindrops a n d blades of grass. B e c a u s e w e use the s y m b o l C for e v e r y a t o m of c a r b o n , and because w e k n o w that e v e r y a t o m of carbon has the same n u m b e r of protons a n d electrons in it, w e assume that all a t o m s of carbon are identical. W e think of a crystal as an a r r a y of identical parts. Y e t the fact is that the orbits of the electrons are i n f l u e n c e d by the orbits of electrons in n e a r b y a t o m s , a n d are t h e r e f o r e d i f f e r e n t in each a t o m , a c c o r d i n g to its position in the crystal. I f we could e x a m i n e e v e r y a t o m in v e r y g r e a t detail indeed, w e w o u l d f i n d that n o t w o a t o m s are e x a c t l y a l i k e : each is subtly whole. different, according to its position in the larger for him. I n this sense,

archetypal

There is always repetition of the patterns.

The p a t t e r n s repeat t h e m s e l v e s because, u n d e r a there are a l w a y s certain given of

set of c i r c u m s t a n c e s , forces w h i c h exist.

fields

relationships w h i c h are most n e a r l y w e l l adapted to the

T h e shape of the w a v e is g e n e r a t e d by the d y n a m i c s of the w a t e r , a n d it repeats itself w h e r e v e r these dynamics occur. T h e shape of the drops is g e n e r a t e d by the balance 146

THE

QUALITY

ITSELF

b e t w e e n g r a v i t y and s u r f a c e tension in the f a l l i n g drop, a n d it repeats itself u n d e r all c i r c u m s t a n c e s w h e r e c r e a t e d by the i n n e r f o r c e s a m o n g particles, w h i c h again repeats itself, approximately, everywhere particles a n d forces coincide. these once these are the d o m i n a t i n g forces. A n d the shape of the a t o m s is

But there is always variation and uniqueness in the way the patterns manifest themselves.
Each pattern is a g e n e r i c solution to some system of the

forces in the w o r l d . B u t the f o r c e s are n e v e r quite a n y one place and time is a l w a y s unique, the uniqueno other system of forces is e v e r

same. Since the e x a c t c o n f i g u r a t i o n of the s u r r o u n d i n g s at configurasubject to tion of the forces w h i c h the system is s u b j e c t to is also e x a c t l y the same c o n f i g u r a t i o n of forces. I f the system is responsible to the f o r c e s it is s u b j e c t to, it f o l l o w s that the system too, must be u n i q u e ; it c a n n o t be e x a c t l y like a n y o t h e r , e v e n t h o u g h it is r o u g h l y similar. T h i s is not an a c c i d e n t a l consequence of the uniqueness of each s y s t e m : it is an essential aspect of the life a n d w h o l e n e s s of each part.

In shorty there is a character in natural things which is created by the fact that they are reconciledy exactlyy to their inner forces.
For from the play of repetition and variety at every

level, it f o l l o w s that the o v e r a l l g e o m e t r y is a l w a y s loose a n d fluid. T h e r e is a n i n d e f i n a b l e r o u g h n e s s , a looseness,

147

THE

QUALITY

a r e l a x e d n e s s , w h i c h n a t u r e a l w a y s h a s : a n d this r e l a x e d g e o m e t r y c o m e s directly f r o m the balance of the repetition and variety. I n a forest w h i c h is alive, it w o u l d be impossible all the trees to be i d e n t i c a l ; for

a n d it w o u l d be impossible

f o r one tree itself to be alive, if its l e a v e s w e r e all the s a m e . N o system w h o s e c o m p o n e n t parts are so u n r e s p o n sive to the forces they are subject to, could m a i n t a i n itself s u c c e s s f u l l y ; it could n o t be alive or w h o l e . I t is a crucial fact about the w h o l e n e s s of the tree that e v e r y leaf be slightly the different from parts the n e x t . of nature And are of course, at since every the same a r g u m e n t applies at e v e r y l e v e l , it m e a n s that component unique level.

This character will happen anywhere, where a part of the world is so well reconciled to its own inner forces that it is true to its own nature.
A l l those things w h i c h w e loosely call naturethe the trees, the winter wind, deep blue water, grass, yellow

crocuses, foxes, a n d the r a i n i n short the things w h i c h m a n has not m a d e a r e just those things w h i c h are to their own nature. T h e y are just those things true

which

are p e r f e c t l y reconciled w i t h their o w n inner forces. A n d the things w h i c h are n o t " n a t u r e " are just those things w h i c h are at odds w i t h their o w n inner forces. A n d any system w h i c h is w h o l e m u s t have this c h a r a c t e r of n a t u r e . T h e m o r p h o l o g y of n a t u r e , the softness of its lines, the a l m o s t infinite variety a n d the lack of g a p s a l l

148

THE

QUALITY

ITSELF

this f o l l o w s directly f r o m the f a c t that n a t u r e is w h o l e . M o u n t a i n s , rivers, forests, animals, rocks, f l o w e r s all have this c h a r a c t e r . B u t t h e y do not h a v e it simply by a c c i d e n t . They have it because they are w h o l e , and because all

their parts are w h o l e . A n y system w h i c h is w h o l e have this c h a r a c t e r .

must

It follows that a building which is whole must always have the character of nature} too.
T h i s does n o t m e a n that a building or a t o w n w h i c h is alive w i l l l o o k like a tree, or like a forest. B u t , it will have the same balance of repetition and variety that n a ture does.

On the one hand> patterns will repeat just as they do in nature.

themselves>

I f the p a t t e r n s out of w h i c h a t h i n g is m a d e are

alive,

then w e shall see t h e m o v e r a n d o v e r a g a i n , j u s t because they m a k e sense. I f the w a y a w i n d o w looks o n t o a tree m a k e s sense, then w e shall see it o v e r and a g a i n ; if the relationship b e t w e e n the doors m a k e sense, w e shall see it f o r a l m o s t e v e r y d o o r ; if the w a y that the tiles are hung in

m a k e s sense, w e shall see a l m o s t all the tiles h u n g

this w a y ; if the a r r a n g e m e n t of the kitchen in the house m a k e s sense, it will be repeated in the n e i g h b o r h o o d . I n short, w e shall f i n d the same e l e m e n t s , r e p e a t i n g o v e r and o v e r a g a i n a n d repetition. T h e w e shall see the r h y t h m s of the house, their the

boards in the siding of

149

THE

QUALITY

balusters in the railing of a balustrade, the w i n d o w s in the buildings, panes w i t h i n the w i n d o w s , columns, peated, pattern, similar trees and rooms, the similar of ceilings, trees the same ornaments in colors apretheir rep r o x i m a t e roof shape repeated o v e r a n d a g a i n , the similar boles repeated

seats repeated,

whitewash

repeated,

peated, a v e n u e s , g a r d e n s , fountains, roadside places, t r e l lises, arcades, p a v i n g stones, blue tiles . . . all repeated, w h i c h e v e r of t h e m are appropriate in a n y g i v e n place.

On the other hand, of course, we shall find the physical farts in which the patterns manifest themselves unique and slightly different each time that they occur.
B e c a u s e the patterns interact, a n d because the conditions are slightly d i f f e r e n t a r o u n d each individual the boards in the trees' siding of the house will occurrence, different, be be slightly different the c o l u m n s in an a r c a d e w i l l all be slightly

d i f f e r e n t , the w i n d o w s w i l l v a r y slightly, the house will vary, positions w i l l vary, seats w i l l . . . e v e n at the same time that they r e c u r

The repetition of patterns is quite a different from the repetition of parts.

When t w o physical w i n d o w s are identical the

thing

relation-

ships w h i c h they have to their s u r r o u n d i n g s are d i f f e r e n t , because their s u r r o u n d i n g s are d i f f e r e n t . B u t w h e n the relationships to their s u r r o u n d i n g s t h e i r

150

THE

QUALITY

ITSELF

p a t t e r n s a r e the s a m e , the w i n d o w s t h e m s e l v e s w i l l all be d i f f e r e n t , because the sameness of the patterns, interacting with the difference of the contexts, makes the

windows different.

Indeed, the different, far is will be unique because the patterns are the same.
C o n s i d e r , for e x a m p l e , the pattern SUNNY P L A C E , w h i c h creates a spot in the sun, a l o n g the south side of a buildi n g , just w h e r e the o u t d o o r space gets used, a n d where

the building opens out to it. T h i s pattern m a y create a series of similar spots, a l o n g the s o u t h e r n edge of a l o n g r o w of h o u s e s b u t then, just w h e r e the houses turn a c o r n e r , it g e n e r a t e s a special place, w h i c h sticks o u t half into the street, l o w w a l l s to protect its sides, perhaps a

c a n v a s c a n o p y a place w h i c h e v e r y o n e in the n e i g h b o r hood r e m e m b e r s a n d looks f o r . This unique place is not created by some arbitrary

s e a r c h i n g f o r uniqueness. I t is created by the repetition of the pattern w h i c h calls f o r a spot in the sun, and by the interaction of this p a t t e r n w i t h the w o r l d . And we shall find the same at every scale. Where

there are m a n y houses, the houses w i l l be similar in f o r m , but each w i l l be unique, a c c o r d i n g to the nature of the people w h o live in it, a n d because each has a slightly different c o m b i n a t i o n of relationships to the l a n d , the sun, the streets, the c o m m u n i t y . The windows of a g i v e n house will all be broadly

similar, a c c o r d i n g to their patterns, but again no t w o will

151

THE

QUALITY

be the s a m e in d e t a i l e a c h w i l l be d i f f e r e n t a c c o r d i n g to its e x a c t position, the direction of the light, the size r o o m , the plants outside the r o o m . of

And from the repetition of the patterns, and uniqueness of the parts, it follows, as it does in nature, that buildings which are alive are fluid and relaxed in their geometry.
A g a i n , this doesn't m e a n that buildings o u g h t to look like animals, or plants. T h e vertical, the h o r i z o n t a l , and the right a n g l e are too c e n t r a l to the n a t u r e of h u m a n space to m a k e that possible. B u t in a place w h i c h is alive, these r i g h t a n g l e s are r a r e l y e x a c t ; the spacing of parts is h a r d l y e v e r p e r f e c t l y e v e n . O n e c o l u m n is a little thicker than a n o t h e r , one a n g l e is a little l a r g e r than a r i g h t a n g l e , one d o o r w a y is just a little smaller than the n e x t , each roof line departs just an inch or t w o f r o m the h o r i z o n t a l . A building in w h i c h a n g l e s are all p e r f e c t l y r i g h t a n g l e s , in w h i c h all w i n d o w s are e x a c t l y the s a m e size, and in which all c o l u m n s are p e r f e c t l y vertical, and all floors p e r f e c t l y h o r i z o n t a l , c a n only r e a c h its false p e r f e c t i o n by i g n o r i n g its s u r r o u n d i n g s u t t e r l y . T h e a p p a r e n t i m p e r f e c tions of a place w h i c h is alive are not i m p e r f e c t i o n s at all. T h e y f o l l o w f r o m the process w h i c h a l l o w s each part to be fitted c a r e f u l l y to its position.

This is the character of nature. But its fluidity, its roughness, its irregularity, will not be true, unless it is made in the knowledge that it is going to die.

152

THE

QUALITY

ITSELF

N o m a t t e r h o w m u c h the person w h o m a k e s a building is able to u n d e r s t a n d the r h y t h m of r e g u l a r i t y a n d i r r e g u larity, it w i l l m e a n n o t h i n g so l o n g as he creates it w i t h the idea that it m u s t be preserved because it is so precious. If you w a n t to preserve a b u i l d i n g , y o u will try to m a k e it in materials w h i c h last a n d last f o r e v e r . Y o u will try to m a k e sure that this creation c a n be preserved intact, in just its present state, f o r e v e r . C a n v a s m u s t be ruled out because it has to be r e p l a c e d ; tiles m u s t be so h a r d that they w i l l not c r a c k , a n d set in c o n c r e t e , so that they c a n n o t m o v e , a n d so that w e e d s will n o t g r o w up to split the p a v i n g ; chairs m u s t be m a d e p e r f e c t , of materials w h i c h n e v e r w e a r or f a d e ; trees m u s t be nice to look at, but m a y n o t bear someone. B u t to reach the quality w i t h o u t a n a m e , a building m u s t be m a d e , at least in part, of those materials w h i c h age and c r u m b l e . S o f t tile a n d brick, soft plaster, f a d i n g coats of paint, c a n v a s w h i c h has been bleached a little and t o r n by the w i n d , . . . fruit, d r o p p i n g on the paths, and growing patched, the stones, an old chair, . . . being crushed by people w a l k i n g o v e r it, grass in the c r a c k s b e t w e e n a n d painted, to increase its c o m f o r t fruit, because the dropped fruit m i g h t offend

N o n e of this can happen in a w o r l d w h i c h lasts f o r e v e r .

The character of nature can't arise without the presence and the consciousness of death.
So l o n g as h u m a n i m a g e s distort the c h a r a c t e r of n a t u r e , it is because there is no w h o l e h e a r t e d a c c e p t a n c e of the

153

THE

QUALITY

nature of things. So l o n g as there is not w h o l e h e a r t e d a c ceptance of the n a t u r e of things, people w i l l distort n a t u r e , by e x a g g e r a t i n g d i f f e r e n c e s , or by e x a g g e r a t i n g ties. T h e y t h o u g h t a n d f a c t of death. similarido this, u l t i m a t e l y , in o r d e r to stave off the

So finally the fact is, that to come to this, to make a thing which has the character of nature, and to be true to all the forces in it, to remove yourself, to let it be, without interference from your image-making selfall this requires that we become aware that all of it is transitory; that all of it is going to pass. Of course nature itself is also always transitory. The trees, the river, the humming insectsthey are all short-lived; they will all -pass. Yet we never feel sad in the presence of these things. No matter how transitory they are, they make us feel happy, joyful. But when we make our own attempt to create nature in the world around us, and succeed, we cannot escape the fact that we are going to die. This quality, when it is reached, in human things, is always sad; it makes us sad; and we can even say that any place where a man tries to make the quality, and be like nature, cannot be true, unless we can feel the slight presence of this haunting sadness there, because we know at the same time we enjoy it, that it is going to pass.

54

THE

GATE

T o reach the quality without a name we must then build a living pattern language as a gate.

CHAPTER

9 SEED

T H E F L O W E R AND T H E

This quality in buildings and in towns cannot be made, but only generated, indirectly, by the ordinary actions of the people, just as a flower cannot be made, but only generated from the seed.

We are now In a fosition to recognize, at least in hazy outline, the character of towns and buildings with the quality without a name in them. Next we shall see that there is a specific concrete process by which this quality comes into being.
Indeed the main thing w e shall deal with in these next nine chapters, is the fact that the quality without a name cannot be made, but only generated by a process. I t can flow from y o u r actions; it can flow with the flows greatest ease; but it cannot be made. I t cannot be contrived, thought out, designed. I t happens w h e n it out f r o m the process of creation of its o w n accord. B u t w e must give lip altogether the idea that it is something we can capture, consciously, by working over d r a w i n g s at the d r a w i n g board.

Consider the process by which the Samoans make a canoe, from a tree.
T h e y cut the tree d o w n ; scrape the branches f r o m the t r u n k ; take off the b a r k ; hollow the inside o u t ; the outside shape of the hull; stern; carve decorations on the p r o w . . . . carve the form the p r o w and

E a c h canoe made by this process is d i f f e r e n t ; each one is beautiful in its o w n w a y , because the process is so ordinary, so simple, so direct. T h e r e is no time lost w o n d e r ing w h a t kind of canoe ought w e to build, w h a t shape to make the hull, should w e put seats in i t a l l those decisions are made before you s t a r t s o that all the energy

159

THE

GATE

and f e e l i n g w h i c h its m a k e r s h a v e g o e s into the specific c h a r a c t e r of this p a r t i c u l a r c a n o e . . . .

The quality of life is just like that: it cannot be made, but only generated.
W h e n a t h i n g is m a d e , it has the w i l l of the m a k e r in it. B u t w h e n it is g e n e r a t e d , it is g e n e r a t e d , f r e e l y , by the operation of egoless rules, a c t i n g on the reality of the situation, and g i v i n g birth, of their o w n a c c o r d . . . .

T h e brush stroke b e c o m e s b e a u t i f u l , w h e n it is visible o n l y as the end p r o d u c t of a p r o c e s s w h e n the f o r c e of the process takes o v e r the c r a m p e d w i l l of the maker.

T h e m a k e r lets g o of his w i l l , and lets the process take over. A n d just so, a n y t h i n g w h i c h lives c a n o n l y be a c h i e v e d as the end p r o d u c t of a process, w h o s e f o r c e takes o v e r a n d replaces the w i l l f u l act of c r e a t i o n .

In our time we have come to think of works of art as "creations " conceived in the minds of their creators.
A n d w e h a v e c o m e to think of buildings, e v e n t o w n s , also as "creations"again thought out, conceived entire,

designed. T o g i v e birth to such a w h o l e seems like a m o n u m e n t a l task: it requires that the c r e a t o r t h i n k , f r o m n o t h i n g , and give birth to s o m e t h i n g whole: it is a vast task, for-

b i d d i n g , h u g e ; it c o m m a n d s r e s p e c t ; w e u n d e r s t a n d h o w

160

THE

FLOWER

AND

THE

SEED

h a r d it is; w e shrink f r o m it, perhaps, unless w e are v e r y certain of our p o w e r ; w e are a f r a i d of it. A l l this has d e f i n e d the task of creation, or design, as a huge task, in which something gigantic whose is b r o u g h t inner to birth, s u d d e n l y , in a single act, workings

c a n n o t be e x p l a i n e d , w h o s e substance relies u l t i m a t e l y on the ego of the c r e a t o r .

The quality without a name cannot be made like this.

I m a g i n e , by contrast, a system of simple rules, not c o m p l i cated, patiently applied, until they g r a d u a l l y f o r m a t h i n g . T h e t h i n g m a y be f o r m e d g r a d u a l l y a n d built all at once, or built g r a d u a l l y o v e r t i m e b u t it is f o r m e d , essentially, by a process n o m o r e complicated than the process by

w h i c h the S a m o a n s shape their c a n o e . H e r e there is no m a s t e r y of u n n a m e a b l e creative p r o cesses: o n l y the patience of a c r a f t s m a n , chipping away

s l o w l y ; the m a s t e r y of w h a t is m a d e does not lie in the depths of some i m p e n e t r a b l e e g o ; it lies, instead, in the in the

simple m a s t e r y of the steps in the process, a n d definition of these steps.

The same thing, exactly, is true of a living organism.

A n o r g a n i s m c a n n o t be m a d e . I t c a n n o t be c o n c e i v e d , by a w i l l f u l act of c r e a t i o n , a n d then built, a c c o r d i n g to the blueprint of the c r e a t o r . I t is far too c o m p l e x , far too

subtle, to be b o r n f r o m a bolt of l i g h t n i n g in the c r e a t o r ' s

161

THE m i n d . I t has a thousand cause the o r g a n i s m

GATE adapted by a

billion cells, each one

p e r f e c t l y to its c o n d i t i o n s a n d this c a n only happen beis n o t " m a d e " . . . it but g e n e r a t e d process w h i c h a l l o w s the g r a d u a l adaptation of these cells to happen h o u r by h o u r .

I t is the process w h i c h creates the o r g a n i s m a n d

m u s t be so. N o t h i n g w h i c h lives c a n possibly be m a d e in a n y other w a y .

If you zvant to make a living flowery you don't build it physicallyy with tweezersy cell by cell. You grozv it from the seed.
Suppose y o u are t r y i n g to create a flower. flowera n e w kind of

H o w w i l l you do it? O f course y o u w i l l not try tweezers. Y o u know that thing which flow-

to build it cell by cell, w i t h

any a t t e m p t to build such a c o m p l e x and delicate directly w o u l d lead to n o t h i n g . T h e only flowers

m e n h a v e built directly, piece by piece, are plastic ers. I f y o u w a n t to m a k e a l i v i n g flower,

there is only

one w a y to do i t y o u w i l l have to build a seed for the flower and then let ity this seed, generate the flower.

This hinges on a simple scientific proposition: the great complexity of an organic systemy which is essential to its lifey cannot be created from above directly; it can only be generated indirectly.
T h e sheer a m o u n t of d i f f e r e n t i a t i o n m a k e s this certain. F o r instance, in a flower there are m o r e than a billion

162

THE

FLOWER

AND

THE

SEED conorder

c e l l s e a c h one d i f f e r e n t . O b v i o u s l y , n o process of Only those indirect growth processes, in which

struction c a n e v e r create this kind of c o m p l e x i t y directly. multiplies itself, o n l y these kinds of processes c a n g e n e r a t e this biological c o m p l e x i t y .

This cannot happen unless each part is at least partly autonomous, so that it can adapt to the local conditions in the whole.
The quality w i t h o u t a n a m e , like all f o r m s of organic adapta-

w h o l e n e s s , depends essentially on the d e g r e e of tion of the parts w i t h i n the w h o l e .

I n a system w h i c h approaches the c h a r a c t e r of n a t u r e , the parts m u s t be adapted with an almost infinite d e g r e e of s u b t l e t y : a n d this requires that the process of a d a p t a tion be g o i n g on t h r o u g h the system, c o n s t a n t l y . I t requires that each part at e v e r y level, no m a t t e r h o w small, has the p o w e r to adapt itself to its o w n processes. T h i s c a n n o t happen unless each part is a u t o n o m o u s .

A building which is natural requires the same.

I n the b u i l d i n g , e v e r y w i n d o w s i l l a n d e v e r y c o l u m n m u s t be shaped by an a u t o n o m o u s process w h i c h a l l o w s it to adapt c o r r e c t l y to the w h o l e . Each b e n c h , each w i n d o w s i l l , each tile, needs to be

m a d e by a person, or a process, in tune w i t h the subtle m i n u t e forces there, m a k i n g it a little d i f f e r e n t at each point a l o n g its l e n g t h a n d d i f f e r e n t f r o m all the others.

163

THE

GATE

And the same in the town.

I n the t o w n , each b u i l d i n g a n d each g a r d e n adapt to its unique particulars. T h i s vast variety can o n l y be created by the people. E v e r y house a l o n g a road m u s t be shaped by a d i f f e r e n t person familiar w i t h the d i f f e r e n t forces peculiar to that place. A n d w i t h i n the house, the w i n d o w s m u s t be shaped by people who are looking out, and seeing what the boundaries of the w i n d o w need to be. T h i s does n o t m e a n that e v e r y person has to design the place he lives in. I t simply m e a n s that the l o v e , a n d c a r e , a n d patience n e e d e d to b r i n g e v e r y part into a d j u s t m e n t w i t h the forces a c t i n g on it, c a n o n l y exist w h e n detailed part is c a r e d f o r , a n d shaped, by s o m e o n e each who must also

by shaped by an a u t o n o m o u s process, w h i c h a l l o w s it to

has the time and patience a n d k n o w l e d g e to u n d e r s t a n d the f o r c e s a c t i n g on it. I t is n o t essential that each person design or shape the place w h e r e so on. I t is essential o n l y that the people of a society, t o g e t h e r , all the millions of t h e m , not just professional that h u m a n variety, and the reality architects, way human design all the millions of places. T h e r e is n o other of specific he is g o i n g to live or w o r k . O b v i o u s l y people m o v e , are happy in old houses, a n d

lives, can find their w a y into the s t r u c t u r e of the places.

But of course, autonomous creation of the farts, if taken by itself, will produce chaos.

164

THE The

FLOWER form

AND

THE

SEED whole, unless the

parts w i l l n o t

any l a r g e r

individual adaptation of the parts is u n d e r some sort of deeper r e g u l a t i o n , w h i c h g u a r a n t e e s that the local process of adaptation will not only make the local part truly a d a p t e d to its o w n processes, but that it w i l l also be shaped to f o r m a l a r g e r w h o l e .

What makes a flower whole> at the same time that all its cells are more or less autonomousy is the genetic codey which guides the process of the individual partsy and makes a whole of them.
The d i f f e r e n t cells are able to act in h a r m o n y because

each one of t h e m contains the s a m e g e n e t i c c o d e . E a c h p a r t ( c e l l ) is free to adapt locally to its o w n processes, and is helped in this process by the g e n e t i c w h i c h guides its g r o w t h . Y e t at the same time, this s a m e code contains f e a t u r e s w h i c h g u a r a n t e e that the s l o w adaptation of the individual parts is n o t m e r e l y anarchic, and individual, but that code

each p a r t s i m u l t a n e o u s l y helps to create those l a r g e r parts, systems, a n d p a t t e r n s w h i c h are n e e d e d f o r the w h o l e .

Andy fust as the flower needs a genetic code to keep the wholeness of its partsy so do the building and the town.
T h e individual b u i l d i n g needs a c o d e , w h i c h guarantees in-

t h a t all the c o l u m n s a n d the w i n d o w s , as they g e t

165

THE dividually shaped, will form

GATE a whole. It must provide

the individual builder w i t h a sequence of instructions so clear, a n d so fluid, that he can f r e e l y m a k e each portion of the b u i l d i n g p e r f e c t l y , a c c o r d i n g to its place. A n d the t o w n n e e d s a code, w h i c h m a k e s the m a n y a c tions of the g r e a t v a r i e t y of people w h o l e . I t m u s t provide the people of the t o w n w i t h instructions so clear that all of t h e m can take p a r t in the s h a p i n g of the t o w n : j u s t like tlie genetic process w h i c h creates the flower, this

process m u s t a l l o w e a c h person to shape his o w n c o r n e r of the w o r l d , so that each b u i l d i n g , each r o o m , each d o o r step, is unique a c c o r d i n g to its place w i t h i n the but with the built-in guarantee that the whole which

town

e m e r g e s f r o m these i n d e p e n d e n t acts, w i l l also be alive and w h o l e .

So I began to wonder if there was a code} like the genetic code} for human acts of building? Is there a fluid code, which generates the quality without a name in buildings> and makes things live? Is there some process which takes place inside a person's mindy when he allows himself to generate a building or a place which is alive? And is there indeed a process which is so simple tooy that all the people of society can use ity and so generate not only individual buildings} but whole neighborhoods and towns? It turns out that there is. It takes the form of language.

166

CHAPTER OUR PATTERN

IO LANGUAGES

The people can shape buildings for themselves, and have done it for centuries, by using languages which I call pattern languages. A pattern language gives each person who uses it, the power to create an infinite variety of new and unique buildings, just as his ordinary language gives him the power to create an infinite variety of sentences.

We know, from chapter g, in very vague and general terms, that life cannot be made, but only generated by a process. In the case of buildings and of towns, this process must be one which lets the people of a town shape rooms, and houses, streets, and churches, for themselves.
N o w w e shall begin to see w h a t kind of processes can make this possible.

In traditional cultures these processes were commonplace.

E a c h person k n e w h o w to make a house, a w i n d o w , or a bench, just right.

Each building was a member of a family, and yet unique.

E v e n though there are a hundred farmhouses, in a valley of the alps, all similar, yet still each one is beautiful, and special to the place w h e r e it occurs, and filled with the same elements, but in unique combinations, so that it is alive and w o n d e r f u l .

Each room is a little different according to the view.

E a c h garden is different according to its relation to the s u n ; each path differently placed according to the best route f r o m the street; each stair has a slightly different

174

OUR

PATTERN

LANGUAGES between

slope, w i t h d i f f e r e n t steps, to fit just nicely in the r o o m s w i t h o u t a w a s t e of space. . . .

Each tile is set a little differently in the groundy according to the settling of the earth.
Each windowpane is slightly d i f f e r e n t a c c o r d i n g to the

s h r i n k a g e of the w o o d ; each w i n d o w d i f f e r e n t a c c o r d i n g to the v i e w it looks u p o n ; each shelf d i f f e r e n t a c c o r d i n g to w h a t it w i l l c a r r y , a n d h o w it is p l a c e d ; colors round about it; each column with each a ornaand m e n t a d i f f e r e n t c o l o r , a c c o r d i n g to the o r n a m e n t s

different

capital, a c c o r d i n g to the m o m e n t in the life of the c a r v e r w h o m a d e it; each step w o r n d i f f e r e n t l y , a c c o r d i n g to the w a y that feet m o v e o v e r i t ; each d o o r a slightly d i f f e r e n t h e i g h t a n d shape a c c o r d i n g to its position in the frame; each plant a d i f f e r e n t one a c c o r d i n g to the a n g l e of the sun, a n d the position of the w i n d ; each f l o w e r box w i t h d i f f e r e n t flowers in it a c c o r d i n g to the likes a n d dislikes of the people inside; each stove m a d e d i f f e r e n t l y , a c c o r d i n g to the n u m b e r of the people in the r o o m , a n d the size of the r o o m ; each board cut to fit its position; each nail d r i v e n a c c o r d i n g to the g i v e a n d s h r i n k a g e of the w o o d .

How was this possible?

H o w w a s it possible that a n y simple f a r m e r could m a k e a house, a t h o u s a n d times m o r e b e a u t i f u l t h a n all the s t r u g g l i n g architects of the last f i f t y y e a r s c o u l d do? Orstill simplerhow, f o r instance, could he make

175

THE

GATE

a barn? W h a t is it that an individual f a r m e r did, w h e n he decided to build a b a r n , that m a d e his barn a m e m b e r of this f a m i l y of barns, similar to h u n d r e d s of other barns, y e t nevertheless unique?

At first sight, we might imagine that each farmer made his barn beautiful, simply by paying attention to its function.
E v e r y b a r n m u s t h a v e a double d o o r , so that the f a r m e r can drive his h a y - w a g o n r i g h t into the barn f o r u n l o a d i n g ; e v e r y barn m u s t provide e n o u g h hay storage to feed the c o w s t h r o u g h o u t the w i n t e r ; it m u s t a l l o w the c o w s to stand in a w a y that m a k e s it easy to feed t h e m , and easy to m o v e the hay f r o m the place w h e r e it is stored to the place w h e r e the c o w s e a t ; it m u s t provide an easy w a y of w a s h i n g d o w n the c o w d u n g and urine w h i c h late; w a l l s against w i n d loads. . . . accumuand it m u s t provide a w a y of s u p p o r t i n g the roof

A c c o r d i n g to this t h e o r y , the f a r m e r is able to m a k e liis b a r n b e a u t i f u l , because he is so deeply in touch it f u n c t i o n . with

But this does not explain the similarity of different barns.

If every new barn were created from scratch, we forms purely should than Why

from expect

the f u n c t i o n a l n a t u r e of to see a much greater

the p r o b l e m , variety of

actually exists. W h y

are there no circular barns?

176

OUR

PATTERN

LANGUAGES even

do some barns not h a v e a double n a v e , to provide m o r e s t o r a g e , or a double pitched r o o f ?

I t m a y be true

that these kinds of barns w o u l d n o t w o r k as w e l l as the ones w h i c h are b u i l t ; but h o w could the builders k n o w that, w i t h o u t t r y i n g it? T h e f a c t is that they d o n ' t try it. T h e y are simply c o p y i n g the o t h e r barns w h i c h they a l r e a d y k n o w . And, indeed, everyone who has e v e r built anything

k n o w s that he g o e s a b o u t it in this w a y . W h e n y o u put floor joists at 1 6 " c e n t e r s , you d o n ' t w o r k out the s t r u c every time y o u do it; once floors, you are

tural calculations

persuaded that this is a g o o d w a y to build

you g o

on d o i n g it that w a y , until y o u have some reason to r e think it.

We might imagine then, that the farmer got his -power to build a barn by copying the other barns around him.
Imagine for a m o m e n t that the f a r m e r a c t u a l l y had a barns

detailed picture of a n o t h e r b a r n , or several other

in his m i n d , c o m p l e t e d o w n to the last details, a n d that w h e n he starts to m a k e his o w n b a r n , he simply m o d i f i e s this ideal barn in his m i n d . T h i s w o u l d certainly explain w h y one b a r n looks like other b a r n s in the v a l l e y , even w h e r e purely considerations d o n ' t require it. functional

But this does not explain the great variety of barns.

177

THE

GATE

A n d it does n o t explain the e n o r m o u s variations w h i c h the f a r m e r is able to m a k e , in his o w n b a r n , w i t h o u t wrong. F o r e x a m p l e , a m o n g the old b a r n s in C a l i f o r n i a , I k n o w t w o w h i c h are radically d i f f e r e n t f r o m the "standard" its m a i n type. O n e of t h e m has the same cross section as u s u a l but it is v e r y v e r y l o n g , a b o u t 2 4 0 f e e t a n d doors, instead of b e i n g at the ends, r u n r i g h t a n g l e s to the m a i n axis. T h e t h r o u g h it, at two going

o t h e r one is nestled floors of a barn, opposite

into the slope of a hill, a n d it has three stories. T h e l o w e r stories are just like the n o r m a l directions. but one a b o v e the o t h e r , a n d a p p r o a c h e d from

Y o u can say that these barns are copies too. B u t , obviously in these cases, the total a r r a n g e m e n t of the " t y p i c a l " barns has n o t been copied at all. T h e patterns w h i c h are typical of o t h e r b a r n s are still present in these t w o b a r n s ; but the w a y in w h i c h the patterns are c o m b i n e d is utterly different.

The pro-per answer to the question} "How is a farmer able to make a new barn?>} lies in the fact that every barn is made of patterns.
I t is not the idea of c o p y i n g w h i c h is at f a u l t ; only the conception of "what is c o p i e d . " Obviously the farmer

does have some sort of i m a g e of a b a r n in his m i n d , w h e n he starts to m a k e a n e w b a r n . B u t this i m a g e of the barn, w h i c h he has in his m i n d , is n o t an i m a g e like a d r a w i n g or a blueprint or a p h o t o g r a p h . I t is a system of patterns w h i c h f u n c t i o n s like a l a n g u a g e .

178

OUR

PATTERN

LANGUAGES

A n d the f a r m e r is able to m a k e a n e w barn, unlike the ones w h i c h he has seen b e f o r e , by t a k i n g all the patterns w h i c h he k n o w s , for barns, a n d c o m b i n i n g t h e m in a n e w way.

These patterns are expressed as rules of thumb> which any farmer can combine and re-combine to make an infinite variety of unique barns.
H e r e are some of the patterns for traditional barns. M a k e a b a r n in the shape of a r e c t a n g l e , 3 0 - 5 5 wide, 40-250 feet l o n g , the length at least 3* w h e r e * is the n u m b e r of c o w s the barn has to feet feet, hold. California

O r i e n t the barn so t h a t its ends c o n n e c t easily w i t h the paths w h e r e c o w s c o m e in f r o m the fields, a n d w i t h the local r o a d . D i v i d e the inside of the barn into three parallel aisles: t w o c o w m i l k i n g aisles d o w n the o u t e r sides, a n d a central h a y - s t o r a g e aisle. M a k e the c e n t r a l aisle 1638 feet w i d e , a n d the outer aisles 1 0 1 6 f e e t w i d e . I n certain cases, one of the side aisles can be s h o r t e r t h a n the c e n t r a l aisle, thus t a k i n g a n o t c h out of the r e c t a n g l e . B e t w e e n the outer e d g e of the c e n t r a l aisle a n d the t w o o u t e r aisles, place t w o r o w s of c o l u m n s . T h e c o l u m n s are equally spaced, a n d the distance b e t w e e n the last c o l u m n and feet. I f the c o l u m n spacing is 7 - 1 0 f e e t , m a k e the c o l u m n s 179 the end wall is equal to the distances between 17 columns. Choose a column spacing b e t w e e n 7 and

THE

GATE feet, m a k e 1417 are tied the feet, to-

4 x 4 > s. I f the c o l u m n s p a c i n g is 1 0 - 1 4 c o l u m n s 6 x 6's. I f make the columns the c o l u m n 8 x 8's. The

spacing is columns

g e t h e r , a l o n g the l e n g t h of the b a r n , by the m a i n purlins sitting on top of the c o l u m n s . Make the roof of the barn a symmetrical aisleso pitched flatter, that or the r o o f , a n d m a k e the pitch o v e r the outer aisles equal to, the pitch over the c e n t r a l

pitch will usually b r e a k o v e r the m a i n c o l u m n s a l o n g the purlins. B o t h pitches are b e t w e e n 2 0 a n d 4 0 d e g r e e s to the h o r i z o n t a l . I f the l e n g t h of the barn is less than 1 5 0 feet, place the m a i n d o o r s at the ends, r o u g h l y on the c e n t e r line of the c e n t r a l aisle. I f the b a r n is m o r e along, doors. I f the t w o r o w s of c o l u m n s w h i c h d e f i n e the c e n t r a l aisle are m o r e t h a n 1 8 f e e t a p a r t , tie t h e m t o g e t h e r by horiz o n t a l tie beams, all at the same h e i g h t , a n d w i t h i n 3 feet of the tops of the c o l u m n s . M a k e the side w a l l s 7 1 0 feet h i g h , a n d the peak of the roof 1 5 - 2 5 feet h i g h . F r a m e the side w a l l s by a system of vertical studs, c o n n e c t e d by h o r i z o n t a l sill ( b o t t o m ) a n d plate ( t o p ) , a n d , if y o u w i s h , by a m i d d l e h o r i z o n t a l m e m b e r a l l m e m b e r s 2 x 4*s. P l a c e the studs in the side w a l l s to line up w i t h the these and let the side aisles be than 150 feet by long, the place the m a i n doors in the side w a l l s , r o u g h l y interrupted halfway

c o l u m n s of the c e n t r a l aisle, a n d place the m a i n r a f t e r s in the same planes as the studs a n d c o l u m n s , sitting on the plates and purlins w h i c h r u n o v e r these m e m b e r s . 180

OUR

PATTERN

LANGUAGES

P l a c e r a f t e r s f r o m opposite sides of the r o o f , m e e t i n g the m a i n ridge b e a m . B r a c e e v e r y c o r n e r in the f r a m i n g of the side w i t h a d i a g o n a l 2 x 4 , about 3 feet l o n g . C o n n e c t the tie b e a m s r u n n i n g across the c e n t r a l aisle to the m a i n c o l u m n s , by d i a g o n a l braces. C o n n e c t the m a i n purlins to the m a i n c o l u m n s , with walls

d i a g o n a l braces 34 feet l o n g . I f the c o l u m n spacing is m o r e t h a n a b o u t 2 1 feet also use double braces, the outer ones a b o u t 6 f e e t l o n g .

To understandy in detaily how these patterns work we must extend our definition of "a pattern "
I n chapters 4 a n d 5 w e l e a r n e d s o m e t h i n g " i n the w o r l d " a to see a pattern as

unitary p a t t e r n of activity

a n d space, w h i c h repeats itself o v e r and o v e r a g a i n , in a n y g i v e n place, a l w a y s a p p e a r i n g each time in a slightly different manifestation. When w e ask, n o w , just w h e r e these p a t t e r n s come

f r o m , and also w h e r e the variation c o m e s f r o m , w h i c h all o w s each p a t t e r n to take on a slightly d i f f e r e n t f o r m each time that it occurs, w e h a v e been led to the idea that these patterns " i n the w o r l d " are c r e a t e d by us, because w e h a v e o t h e r , similar p a t t e r n s in o u r m i n d s f r o m w h i c h w e i m a g i n e , c o n c e i v e , c r e a t e , build, a n d live these actual patterns in the w o r l d . T h e s e p a t t e r n s in o u r m i n d s are, m o r e or less, m e n t a l i m a g e s of the p a t t e r n s in the w o r l d : they are abstract representations of the v e r y m o r p h o l o g i c a l rules w h i c h d e f i n e the patterns in the w o r l d .

181

THE

GATE

H o w e v e r , in one respect they are v e r y d i f f e r e n t . T h e patterns in the w o r l d m e r e l y exist. B u t the same patterns in o u r m i n d s are d y n a m i c . T h e y generative. T h e y w e shall, or m a y , g e n e r a t e t h e m ; have force. T h e y are tell us w h a t to d o ; they tell us h o w create them.

a n d they tell us too,

that u n d e r certain c i r c u m s t a n c e s , w e must

Each pattern is a rule which describes what you have to do to generate the entity which it defines.
C o n s i d e r , for e x a m p l e , the p a t t e r n of hillside slopes. contour As a "fact," For the this pattern the are merely terraces spaced terracing, certain the at

used in hilly countries, to m a k e usable f a r m l a n d on hilly has characteristics. lines; example: terraces follow vertically

r o u g h l y equal i n t e r v a l s ; the terrace is f o r m e d by a w a l l , a l o n g its outer e d g e , w h i c h keeps the earth f r o m s l i d i n g ; each of these outer w a l l s rises slightly above the level of the terrace w h i c h it retains, so that it also keeps water All there, e v e n s out the rainfall, a n d p r e v e n t s erosion. define the pattern " i n the w o r l d . " N o w consider the s a m e pattern " i n the f a r m e r ' s m i n d . " I t contains the same ably, less superficial. information: more But it contains, detailed probtwo fact in addition,

this d e f i n e s the p a t t e r n . T h e s e are the relationships w h i c h

other aspects. F i r s t , it includes the k n o w l e d g e

w h i c h is

required to build a system of terraces like this. T h e

that the w a l l s are built before the terraces are filled in a n d l e v e l e d ; the f a c t that there are small drain holes in the outer w a l l s ; in short, the t e r r a c i n g is described n o w as a

182

OUR

PATTERN

LANGUAGES

rule. I t is a rule w h i c h tells the f a r m e r w h a t to do on an existing hillside to t r a n s f o r m it into the state w h i c h in the w o r l d . A n d there is an imperative aspect to the p a t t e r n . p a t t e r n solves a p r o b l e m . I t is n o t m e r e l y desirable "a" The has this p a t t e r n in i t i n short, to g e n e r a t e the p a t t e r n itself,

pattern,

w h i c h one m i g h t or m i g h t n o t use on a hillside. I t is a p a t t e r n ; and for a person w h o w a n t s to f a r m a create this hillside, a n d p r e v e n t it f r o m erosion, he must

p a t t e r n , in o r d e r to m a i n t a i n a stable and h e a l t h y w o r l d . I n this sense, the p a t t e r n n o t o n l y tells him h o w to create the p a t t e r n of t e r r a c i n g , if he w a n t s to; it also tells him that it is essential for him to do so, in certain particular c o n t e x t s , a n d that he m u s t create this p a t t e r n there.

It is in this sense that the system of patterns forms a language.

W h e n the barn builder applies the patterns f o r a barn to one a n o t h e r in the proper o r d e r , he is able to create a b a r n . T h i s b a r n will a l w a y s h a v e the particular relationships required by the p a t t e r n s ; h o w e v e r , all o t h e r sizes, f a m i l y of barns feamorphological angles, a n d relationships depend on the needs of the situation, and the w h i m of the builder. T h e p r o d u c e d by this system all share the m o r p h o l o g i c a l tures specified by the rules (these are the endless v a r i e t y .

l a w s w e have o b s e r v e d ) , but b e y o n d that there is literally

From a mathematical point of view, the simplest kind of language is a system which contains two sets:
183

THE

GATE

1 . A set of e l e m e n t s , or symbols. 2. A set of rules for c o m b i n i n g these symbols. The l o g i c a l l a n g u a g e s are an example. In a logical l a n g u a g e , the s y m b o l s are c o m p l e t e l y abstract, the rules are the rules of l o g i c a l s y n t a x , a n d the sentences are called well-formed the rule in a = formulas. same this For symbol be instance, must such a language and by twice and m i g h t be d e f i n e d by the set of s y m b o l s "The In *x row." language, + ,= appear

never (or

*-[-*-[-*-[-*-[-.*

would

sentences

well-formed

f o r m u l a s ) , but ^ r z i - r r ^ - f - * * - ! - w o u l d not be, because * appears t w i c e in a r o w .

A natural language like English system.

is a more

complex

A g a i n , there is a set of e l e m e n t s , in this case the set of words. And again there are rules which describe the

possible a r r a n g e m e n t of the w o r d s . B u t , there is, in a d d i tion, a s t r u c t u r e on the w o r d s t h e c o m p l e x n e t w o r k of semantic c o n n e c t i o n s , w h i c h d e f i n e s each w o r d in t e r m s of o t h e r w o r d s , a n d s h o w s h o w w o r d s are c o n n e c t e d to other w o r d s . Take f o r instance, a v e r y simple sentence like w o r d s here are and so on. "The eleThe

tree is s t a n d i n g on the h i l l . " T h e ments: "The," "tree," "hill"

. . .

e l e m e n t s are c o m b i n e d a c c o r d i n g to certain rules, w h i c h create a sentence. T h e simplest of these rules are the rules of g r a m m a r , w h i c h m a k e it c l e a r that the w o r d " t o b e " m u s t be t r a n s f o r m e d into " i s " in this c o n t e x t ; that the

184

OUR

PATTERN

LANGUAGES

w o r d " t h e " c o m e s b e f o r e the n o u n s to w h i c h it refers, a n d so on. F u r t h e r , the m e a n i n g of the sentence c o m e s f r o m the n e t w o r k of c o n n e c t i o n s a m o n g the w o r d s w h i c h tells us, f o r e x a m p l e , that a " t r e e " g r o w s in the " g r o u n d " and

that a " h i l l " is a kind of " g r o u n d , " and that a tree can t h e r e f o r e stand on a hill.

A pattern language is a still more complex system of this kind.

T h e e l e m e n t s are patterns. T h e r e is a s t r u c t u r e on the patterns, pattern which of other describes smaller how each pattern is itself are a

patterns.

And

there

also way

rules, e m b e d d e d in the patterns, w h i c h describe the

that they can be c r e a t e d , a n d the w a y that they m u s t be a r r a n g e d with respect to other p a t t e r n s . H o w e v e r , in this case, the patterns are both elements rule, a n d rules, so rules a n d e l e m e n t s are indistinguishable. T h e patterns are e l e m e n t s . A n d each p a t t e r n is also a t h e m s e l v e s again other patterns. w h i c h describes the possible a r r a n g e m e n t s of the e l e m e n t s

An ordinary language like English is a system which allows us to create an infinite variety of onedimensional combinations of words, called sentences.
F i r s t of all, it tells us w h i c h a r r a n g e m e n t s of w o r d s are l e g i t i m a t e sentences, in a g i v e n situation, a n d w h i c h are not. A n d , furthermore, which arrangements of words

185

THE

GATE

m a k e sense in a n y g i v e n situation, a n d w h i c h ones d o n ' t . I t n a r r o w s d o w n the total possible a r r a n g e m e n t s of w o r d s w h i c h w o u l d m a k e sense in a n y g i v e n situation. S e c o n d , it a c t u a l l y g i v e s us a system w h i c h a l l o w s us to p r o d u c e these sentences w h i c h m a k e sense. So, it n o t o n l y defines the sentences w h i c h m a k e sense in a g i v e n situation; it also g i v e s us the apparatus w e need to create these sentences. I t is, in other w o r d s , a g e n e r a t i v e system, w h i c h a l l o w s us to g e n e r a t e sentences that are appropriate to a n y g i v e n situation.

A pattern language is a system which allows its users to create an infinite variety of those three dimensional combinations of patterns which we call buildingsy gardensy towns.
First, it d e f i n e s the limited n u m b e r of a r r a n g e m e n t s of

spaces that m a k e sense in a n y g i v e n c u l t u r e . T h i s is a f a r s m a l l e r collection than the total n u m b e r of a r r a n g e m e n t s of j u m b l e d air and changes, nonsense, the piles of bricks a n d space kitchens on top down of freeway inside a growing upside and windows, trees interrailway

s t a t i o n t h a t could be put t o g e t h e r , but w o u l d m a k e n o sense at all. A n d second, a p a t t e r n l a n g u a g e a c t u a l l y g i v e s us the p o w e r to g e n e r a t e these c o h e r e n t a r r a n g e m e n t s of space. T h u s , as in the case of n a t u r a l l a n g u a g e s , the p a t t e r n l a n g u a g e is generative. I t not o n l y tells us the rules of a r r a n g e m e n t , but s h o w s us h o w to c o n s t r u c t a r r a n g e m e n t s a s m a n y as w e w a n t w h i c h satisfy the rules.

186

OUR

PATTERN

LANGUAGES

In summary: both ordinary languages and pattern languages are finite combinatory systems which allow us to create an infinite variety of unique combinations, appropriate to different circumstances, at will.
Natural Words R u l e s of g r a m m a r and m e a n i n g w h i c h give c o n nections Sentences Language Pattern Patterns P a t t e r n s w h i c h specify connections between patterns B u i l d i n g s a n d places Language

Here is the outline of a pattern language for a farmhouse in the Bernese Oberland.
NORTH SOUTH AXIS WEST FACING ENTRANCE DOWN THE SLOPE TWO FLOORS H A Y LOFT AT THE BACK BEDROOMS IN FRONT GARDEN TO THE SOUTH PITCHED ROOF H A L F - H I P P E D END BALCONY TOWARD THE GARDEN CARVED ORNAMENTS E a c h of these p a t t e r n s is a field of relationships w h i c h can take a n infinite variety of specific f o r m s . A n d , in addition, each one is expressed in the f o r m of a rule, w h i c h tells the f a r m e r w h o is m a k i n g his house just w h a t to do.

187

THE

GATE which

Y o u c a n see that the v a r i e t y of possible houses

such a simple s y s t e m of p a t t e r n s c a n c r e a t e is a l m o s t i n f i n i t e . F o r i n s t a n c e , h e r e are s o m e houses w h i c h it g e n erates.

Here is the outline of another simple pattern language for stone houses in the South of Italy.
SQUARE M A I N ROOM, A B O U T 3 METERS TWO STEP M A I N E N T R A N C E SMALL ROOMS OFF T H E M A I N ROOM A R C H B E T W E E N ROOMS MAIN CONICAL V A U L T S M A L L VAULTS W I T H I N T H E CONE W H I T E W A S H E D TOP TO T H E CONE F R O N T SEAT, W H I T E W A S H E D

188

OUR T h i s language drawing:

PATTERN

LANGUAGES

g e n e r a t e s the v e r y simple houses in this

A n d the m o r e c o m p l i c a t e d , and less similar houses, in this second d r a w i n g :

UL

189

THE In this casey the pattern people shape their their streets and town

GATE not only helps the shape

language collectively.

housesy

but also helps

them

F o r instance, there are further patterns in the language which include: NARROW STREETS STREET BRANCHING

190

OUR

PATTERN

LANGUAGES

FRONT DOOR TERRACES CONNECTED BUILDINGS PUBLIC WELLS AT INTERSECTIONS STEPS IN THE STREET T h e s e larger patterns create the structure of the town. If every person w h o makes an individual house, at the same time follows these larger patterns, step by step, and does whatever he can with the layout and placing of his house to help create these larger patterns too, then the town slowly gets its structure from the incremental aggregation of their individual acts. E a c h person uses the language a little differently. Each person uses the language to make a building which reflects his dreams, to meet the special needs of his o w n family, the w a y they live, the animals they keep, the site, and its relation to the street . . . B u t overall, throughout the differences, there is a constancy, a harmony, created by the repetition of the underlying patterns.

At tern

this stage, language of rules variety

we have clearly. which of

defined We a person

the

concept that

of a patfinite an allow exactly brings of a the the

know

it is a

system infinite

can use to generate buildingsall will to generate which

different

members

of a familyand the people that balance place to kind life.

that the use of language or a town and variety

of a village of uniformity

In this sense, then, we have found of code which does, at certain

an example

times play just

1,91

THE role flays in buildings in a living

GATE that the genetic kinds code of

and in towns organism. know yet,

What languages

we do not in the

is that

these

are ultimately

responsible world.

for every

single

act of building

192

CHAPTER

II

OUR PATTERN LANGUAGES: CONTINUED

These pattern languages are governed are not confined

to villages building language

and farm society. All acts of by a pattern patterns because which of some sort, and the by the languages

in the world are there, entirely they are created people use.

We have seeny so fary that pattern secret lages. But languages found ingy large or ancient, For the something mental are more of the farmer's power

languages

were

the vilpro-

to build

in simple and more work of

widespread^

than that. The or smally is made use that of

fact is that every humble way.

buildmodern merely It is

or magnificenty languages is not societies. naturey as

in this same pattern

happens fact about

in traditional our human speech.

a fundamental

funda-

as the fact of

F o r example, our o w n towns and buildings, just like any others, are all made of patterns, too. L o o k around our w o r l d . O u r world is made of freeways, gas stations, houses, sidewalks, kitchens, buildings, bare concrete walls, flat roofs, front doors, trees in television, concrete telephone parking garages, skyscrapers, elevators, high schools, hospitals, parks, parking places, gutters, boxes, tubs of artificial flowers, neon signs,

wires, picture windows, front gardens, back gardens, gilt plastic-framed pictures, motels, supermarkets, hamburger joints, sandwich machines.

The the

patterns built which

of our timey people use.

like

all from

other the

patterns pattern

in lan-

environmenty

come

guages

F o r instance, the

freeways are built from

handbooks,

which contain, more or less exactly in the f o r m of patterns, rules which prescribe the optimum spacing of exits,

198

OUR

PATTERN

LANGUAGES I CONTINUED

at different densities, the best configurations for the exits under different conditions, the proper curvature and inclination of the petals of a cloverleaf built f r o m a little book, which . . . . describes the essential A n d the gas stations built by any one company are often features of, for instance, a " S h e l l " gas s t a t i o n a n d describes h o w these essential features may be combined differently, in different situations, to provide a gas station which is still one of the family of Shell gas stations, but adapted to a local site.

Indeedy worldy fut

as we shall languages. because

see

now, fut

these into them

patterns the thereand

always man-made we

come from them

They

come

we always

there by using

languages.

E a c h w i n d o w , room, house, street and neighborhood, gets those patterns which identify it, which give it its structure, from a l a n g u a g e : and each entity within the world is governed, and guided in its development, by an internal pattern language which functions for it, just as the genetic code works for an organism.

Of

coursey

these

patterns or

do not come flanners.

only

from

the

work

of architects

Architects are responsible for no more than perhaps 5 percent of all the buildings in the w o r l d . Most buildings, streets, shops, offices, rooms, kitchens, cafes, factories, gas stations, freeways, bridges . . .

199

THE

GATE

which give the world its form, come from an entirely different source.

They

come people.

from

the work

of thousands

of

different

They

come from the decisions of administrators, hardworks fami-

ware storeowners, housewives, the officials in the building department, local bankers, carpenters, public departments, lies . . . . gardeners, painters, city councils,

Each thumb.

of

them

builds

by

following

some

rules

of

E x a m p l e : T h e British g o v e r n m e n t makes the decision to build Stevenage N e w T o w n , a town of 50,000 people, 30 miles outside of L o n d o n . T h e pattern g o v e r n i n g this decision was created by E b e n e z e r H o w a r d in 1 8 9 0 , and was k n o w n to the British Government for 50 years before they used it to.build Stevenage. E x a m p l e : A group of highway engineers, from the California State H i g h w a y D e p a r t m e n t , locate, and design, a freeway interchange, on Interstate 80, east of San F r a n cisco. T h e y are following patterns which are laid d o w n in the form of rules, in the A A S H O changes, most efficient ramp configurations, explicitly manual: minimum

these rules define the optimum spacing of freeway interradii and super-elevations for different design speeds, etc. E x a m p l e : A N e w Y o r k architect defines the outer shape

200

OUR

PATTERN

LANGUAGES I CONTINUED

of an office building on Park A v e n u e . He is confined by l a w , to make the building envelope conform to the daylight requirements of the building code, and k n o w s before he starts that he will pyramidal envelope. E x a m p l e : A housewife asks her husband to build shelves across the kitchen w i n d o w s , month's House and Garden. the w a y she saw in last A g a i n , the pattern, which are a good have to create a more or less

says that shelves across a kitchen w i n d o w it in her o w n kitchen.

idea in general, is in her mind before her decision to try

Everybody

follows

rules

of

thumb.

E x a m p l e : A man w h o is fixing the bathroom goes to the local hardware store, and buys an expanding shower curtain rail, which can be force-fitted between the bathroom walls above the bathtub. T h e fact that this fixture is available on the market, and is the easiest to fix, is the controlling force behind the pattern in his mind tells him how to place the shower curtain rod. E x a m p l e : A small town decides to close off the central street in t o w n , to form a pedestrian precinct. It is probably acting under guidance from architects: and the architects base their advice on a pattern that has been emerging in architectural thought for more than twenty years. E x a m p l e : T h e landscape architect w h o is called in to do the detailing of the pedestrian precinct, uses brick walks, planters, and b e n c h e s a l l part of the current vernacular which

201

THE

GATE

for pedestrian precincts, and all in his mind long before he started this particular job. E x a m p l e : A bank decides to lend money to one developer, and not to another. T h e bank bases its decisions on rules of thumb about the density of land coverage which will bring a reasonable financial return. T h e i r patterns tell them not to lend money to people w h o w a n t to put small buildings on large pieces of land, in central cities. E x a m p l e : T h e Parks D e p a r t m e n t is thinning the trees in the park. If they are pine trees, they are left spaced at about 15 foot centers; any extra trees are taken out, so that the trees w o n ' t stop each other from g r o w i n g . T h i s spacing for pine trees is a widely k n o w n pattern taught in forestry school and used all over the world.

And

all these

rules

of thumbor are

fat ternsare

fart

of larger systems

which

languages.

F o r , of course, these rules of thumb, which I have given as examples, do not exist, independently, isolated, freefloating. E a c h one is part of a system of other rules of thumb, organized, so that the rules of thumb, or patterns, can be used, not only to make isolated decisions, but to create complete t h i n g s c o m p l e t e parks, buildings, park benches, freeway interchanges . . . and so on.

Every

ferson

has a fattern

language

in his

mind. knowl-

Y o u r pattern language is the sum total of your

202

OUR

PATTERN

LANGUAGES I CONTINUED

edge of h o w to build. T h e pattern language in your mind is slightly different from the language in the next person's m i n d ; no two are exactly alike; yet many patterns, and fragments of pattern languages, are also shared. W h e n a person is faced with an act of design, w h a t he does is governed entirely by the pattern language which he has in his mind at that moment. O f course, the pattern languages in each mind are evolving all the time, as each person's experience g r o w s . B u t at the particular moment he has to make a design, he relies entirely on the pattern language he happens to have accumulated up until that moment. His act of design, whether humble, or gigantically complex, is governed entirely by the patterns he has in his mind at that moment, and his ability to combine these patterns to form a n e w design.

This

is as true

of any great

creative

artist,

as of

the

humblest

builder. to make his designs.

Palladio used a pattern language

A n d F r a n k L l o y d W r i g h t too used a pattern language to make his designs. Palladio happened to record his patterns in books, with the idea that other people could use them too. W r i g h t tried to keep his patterns secret, like a master chef w h o keeps his recipes secret. B u t this difference is inessential. W h a t matters is that both of them, and all the other great architects w h o have ever lived, have had their o w n pattern languages, the condensation of their own experience, in the form of private rules of thumb, which they could use whenever they began to make a building.

203

THE And tern you yourself language. make

GATE designs by using a fat-

your

Imagine for a moment that I ask you to lay out a simple cottage for yourself. N o w , let me ask you this: A r e cottage circular? have a rule in your mind which the rooms in your tells you that the A l m o s t certainly not. M o s t likely you

rooms in your building should be more or less rough rectangles. I do not say, for the moment, that this rule is good or bad. I only ask you to recognize that you do have a rule of some kind, which tells you roughly what kind of shape to make the rooms. . . . A n d you have m a n y , many rules like this.

Indeed -present

it is the language.

system

of

these

rules

that

is

your

A n d your creative power is entirely given by the power of these patterns. Y o u r language n o w . power to create a building is limited entirely by the rules you happen to have in your

At the moment designy scratch. he does

when

a person time

is faced to think

with about

an act of it from

not have

He is faced with the need to act, he has to act fast; and the only w a y of acting fast is to rely on the various rules

204

OUR

PATTERN

LANGUAGES I CONTINUED

of thumb which he has accumulated in his mind. In short, each one of us, no matter h o w humble, or h o w elevated, has a vast fabric of rules of thumb, in our minds, which tell us w h a t to do w h e n it comes time to act. A t the time of any act of design, all w e can hope to do is to use the rules of thumb we have collected, in the best w a y know how. we

Even

when

a person he is still in his

seems always

to "go

back to the patterns

basic that

problem" are already

combining

mind.

A l t h o u g h he may manage to transform these patterns, slightly, according to a new analysis of the problem, it is still the pattern language in his mind which forms the g r o u n d w o r k of w h a t he does. Y o u may think: W e l l , I do not have any kind of pattern language in my mind at present. T h e r e are people w h o may deny the existence of patterns in their o w n minds. T o question: If you know such a person I ask a simple anything about how to make

buildings, w h a t is it that you k n o w ? Y o u r answer may be that you rely on the depths of your emotion and intuition to respond, in a unique fashion, to each n e w problem that presents itself to you. B u t even this emotion and intuition is guided by some principles however deep. E v e n if you have never tried to make these principles explicit for yourself, and even if you cannot do so, still, somewhere in your mind there are these principles, couched in w h o knows w h a t f o r m a n d it is these

205

THE

GATE

principles which come into action, through intuition and emotion, w h e n you make a design.

It is only his mindy

because

a person

has a pattern when he

language builds.

in

that he can be creative

Y o u may be unwilling to admit that your creative power comes from a language in your mind, because you are afraid that the rules of a language in your mind may prevent you from being free and creative. T h e very opposite is true. A pattern language is the very source of creative power in the individuals w h o use it, and without a language they could create nothing. It is the language they could create nothing. It is the language which makes them creative. R e m e m b e r English. It w o u l d be ridiculous to say that the rules of English in your head restrict your freedom. and W h e n you say something, you say it in E n g l i s h ;

even though you may sometimes be frustrated by w h a t cannot be said, still, w h e n you speak you have no wish to be free of the rules. I n fact, a vast part of w h a t you know is captured in the fabric of these r u l e s e v e r y concept which you understood because you can express it in terms of other concepts is part of the English in your mind.

The

rules

of English having words. of

make

you creative

because

they com-

save you from binations

to bother

with meaningless

M o s t possible combinations of w o r d s are mere

jumbles

206

OUR ("cat

PATTERN house

LANGUAGES I CONTINUED There are far

work

tea i s , " a n d so o n ) .

m o r e of these nonsensical c o m b i n a t i o n s than of the c o m binations w h i c h m a k e sense. Suppose y o u had to search in y o u r m i n d , a m o n g all the possible c o m b i n a t i o n s of w o r d s e v e r y time y o u w a n t e d to say s o m e t h i n g y o u w o u l d n e v e r e v e n g e t to the things y o u w a n t to s a y : a n d y o u c e r t a i n l y w o u l d be unable say a n y t h i n g that expressed deep f e e l i n g or m e a n i n g . The rules of E n g l i s h steer y o u a w a y still v a s t n u m b e r of from the vast make to

n u m b e r of nonsensical sentences, a n d t o w a r d s the s m a l l e r though sentences which sense; so that y o u c a n p o u r all y o u r e f f o r t into the f i n e r shades of m e a n i n g . I f it w e r e n o t f o r the rules of E n g l i s h , y o u w o u l d spend all y o u r time s t r u g g l i n g to say a n y t h i n g at all.

A pattern

language

does

the

same.

A p a t t e r n l a n g u a g e is really n o t h i n g m o r e t h a n a precise w a y of describing s o m e o n e ' s e x p e r i e n c e of building. I f a m a n has a g r e a t deal of e x p e r i e n c e of building houses, his l a n g u a g e f o r houses is rich a n d c o m p l e x ; if he is a g r e e n h o r n , his l a n g u a g e is n a i v e a n d simple. A poet of houses, a master builder, couldn't possibly work without his

l a n g u a g e i t w o u l d be as if he w e r e a g r e e n h o r n . A g a i n , if y o u t h i n k of all the possible c o m b i n a t i o n s of c o l u m n s , a n d studs, a n d walls, and windows, most of

t h e m are m e a n i n g l e s s j u m b l e s . T h e n u m b e r of m e a n i n g less c o m b i n a t i o n s is vastly larger than the number of

c o m b i n a t i o n s w h i c h m a k e sense as buildings. A m a n w i t h -

207

THE

GATE

out a language would have to comb his mind to find even one m e a n i n g f u l design a m o n g all these meaningless combinations, and he would never even get to the subtleties which make a building w o r k .

So the use of language haffens fact about fact of Every in traditional our human sfeech.

is not merely societies. nature,

something as

that the

It is a

fundamental

as fundamental

creative act relies on language.

It is not

only

those creative acts which are part of a traditional society which rely on l a n g u a g e : all creative acts rely on pattern languages: the fumbling inexperienced constructions of a novice are made within the language which he has. T h e works of idiosyncratic genius are also created within some part of language too. A n d the most ordinary roads and bridges are all built within a language too.

And

now at last it becomes come

clear just

where

the

fat-

terns in the world

from.

In chapter 5, we saw that every part of the world is given its character, essentially, by a small number of patterns which repeat themselves over and over Patterns which repeat to create floor; again.

the floorboards in the

patterns which repeat to create the rooftops of a

t o w n ; patterns which create the overall arrangement of the t o w n which gives one place the character of Paris, and another place the character of L o n d o n . . . W h e r e does all this repetition come from? W h e r e does 208

OUR

PATTERN

LANGUAGES I CONTINUED

the order come from? W h e r e does the coherence come from? W h e r e , above all, do the patterns come f r o m , and w h y are just a f e w again ? W e n o w k n o w the answer to this question. of them repeated over and over

The from guage

patternsy

which

repeat one a

themselvesy have of them thing. version of uses

come a common this

simply lancommon

the fact that all the people

y

and that each when

language Each

he makes has his

person

own

this

common

language, no doubt; but, broadly speaking, each person k n o w s the same patterns, and the same patterns therefore keep repeating and repeating and repeating, always with infinite variety, simply because these are the patterns in the language which people use.

Every

single

part of the environment of a pattern language.

is governed

by

some portion There

are languages for the layout of buildings, churches, temples,

fields,

for the for

a r r a n g e m e n t of the streets, for public squares, for building public languages laying out the w a y that buildings group, for mending

walls, f o r m a k i n g stairs, for the arrangement of the shops and cafes along the street, and for the w a y the inside of the shops are going to be made and used. . . .

And up

the enormous the worldy

repetition comes about 209

of patternsy because

which the

makes

languages

THE which shared. The millionfold repetition feofle use to

GATE the world are widely

make

of patterns comes into

the

world because a million people share the languages which have these patterns in them. A l l the places that man has ever built, traditional or n e w l y invented, built a thousand years ago or built today, designed by architects or laymen, under the influence of laws or not, by m a n y people or by one person, all of them get their shape directly from the languages their builders use.

At all timesy which fattern Every each every these They made

in every which every

human feofle

culture, use.

the

entities by

of the

the world languages windowy gardeny town:

is made

are always

governed

doory each roomy each each neighborhoody directly in the gets its shafe

housey and from man-

every

streety

it always

languages. are the origin world. of all the structure

210

CHAPTER

I2

T H E CREATIVE POWER OF LANGUAGE

Andy beyond that> it is not just the which comes it is and great Even the life shape to

of towns andfbuildings their quality religious as well.

them from pattern languages}

beauty of the most awe-inspiring buildings guages their builders used.

came from the lan-

From

chafler

11,

we see that

pattern structure

languages of the basic, even but their which are has, but to life.

are world. than life comes also

responsible

for all the ordinary

But 'pattern languages as well, from their beauty

are still more of buildings,

that. It is not just the form -pattern languages. to which

as created The shape

things,

patterns a building

responsible

not only for the specific for the extent

the building

comes

T h e life and beauty of the great cathedrals comes from their pattern languages. So does the beauty of the smallest place which comes to life. A n d the degree to which a building comes to life, and moves us, always hinges on the power of the pattern language which its builders used.

Let

us

start

by too.

seeing Dame,

how

the

great made

cathedrals, a pat-

Chartres

and Notre

were

within

tern language

In one sense, this is obvious. O f course, the rules which formed the great cathedrals w e r e , to some extent, comm o n rules of thumb,' which defined the general form of o " a " cathedral. N a v e , aisles, transepts, east end, west end, tower . . . . A n d it was not only the obvious large scale organization which was composed of c o m m o n patterns. A t a smaller scale, there were patterns too. T h e clustering of columns, the form of the arch, the great rose w i n d o w in the west, the chapels round the east end, the spacing of the columns, the buttresses and flying buttresses.

215

THE

GATE

Indeed, even the most beautiful details were patterns too. T h e column capitals, the w i n d o w tracery, the way the stones within the vaults were cut, the hammer beam roof, the gargoyles on the flying buttresses, the carvings round the doorways, stained glass in the windows, polished stones tombs which . . . . made the floor, the carved and inlaid

Of

course,

these

buildings

were

not

built

by

lay

feofle. T h e r e were hundreds of people, each making his part within the whole, w o r k i n g , often for generations. A t any given m o m e n t there was usually one master builder, w h o directed the overall layout . . . but each person in the whole had, in his mind, the same overall language. E a c h person executed eacJi detail in the same general w a y , but with minor differences. T h e master builder did not need to force the design of the details down the builders' throats, because the builders themselves k n e w enough of the shared pattern language to make the details correctly, with their o w n individual flair.

But still the fower came builder mainly from

and beauty the shared.

of the great which the

cathedrals master

language

and his builders

T h e language was so coherent that anyone w h o understood this language well and devoted his whole life to the building of a single building, w o r k i n g at it slowly,

216

THE

CREATIVE

POWER

OF

LANGUAGE

piecemeal, shaping all the parts within the c o m m o n language, would be able to make a great w o r k of art. The building g r e w slowly, magnificently, from the impact of the common pattern language from which it was made, guiding its individual parts, and the acts which created them, just as the genes inside the flower's seed guide and then generate the flower. . . .

All

the

great

buildings languages. Alhambra,

in history

have

been

built

like this, by Chartres,

The

the

mosque

at

Kairouan,

Japanese houses, Brunelleschi's dome . . . W e imagine, because of the distorted view of architecture w e have learnt, that some great architect created these buildings, with a few marks of the pencil, worked out laboriously at the d r a w i n g board. T h e fact is that Chartres, no less than the simple farmhouse, w a s built by a group of men, acting within a common pattern language, deeply steeped in it of course. It was not made by " d e s i g n " at the drawing board.

The make

same his

process house,

which the

the

simple to

farmer exactlyy generate

used was

to the these

same

process

process greater

which

allowed

people

buildings.

T h e builders w h o built the great cathedrals, the great mosques, the palaces, and the A l h a m b r a , used the same language as ordinary people.

217

THE

GATE

T h e people had a passing k n o w l e d g e of their language, they built no more than a house or two, and helped to build a public b u i l d i n g t h e y with something else. B u t the builders were those men w h o spent their whole lives with that more same about language, deepening it, underbuilding standing its patterns, practicing, were occupied essentially

over and again, until they k n e w exactly how to realize these patterns best.

You bility

may of

have

a fundamental the deepest "language."

doubt

about

the

possiknowl-

capturing

architectural

edge in any

I t is, after all, c o m m o n to say that a great creator has talent which lesser persons do not have, and to assume that the power to create a w o n d e r f u l building which is full of life, depends simply on this talent. H o w e v e r , many people will agree that a great architect's creative power, his capacity to make something beautiful, lies in his capacity to observe correctly, and deeply. A painter's talent lies in his capacity to s e e h e sees more acutely, more precisely, w h a t it is that really matters in a thing, and where its qualities come from. A n d an architect's power also comes from his capacity to observe the relationships which really m a t t e r t h e ones which are deep, profound, the ones which do the w o r k . I n this sense, then, a pattern language which is deep is a collection of patterns which correspond to profound observations about w h a t makes a building beautiful.

218

THE

CREATIVE

POWER

OF

LANGUAGE insights, someare they

We have a habit of thinking the how most less mystical, ordinary and than

that the dee-pest insights, are thingsthat

spiritual most

extraordinary. T h i s is only the shallow refuge of the person w h o does not yet know w h a t he is doing.

In fact, religiousy

the opposite thingsthey

is true:

the most

mystical, than

most ordinary most

most wonderfulthese are more

are not less ordinary

than most things.

I t is because they are so ordinary, indeed, that they strike to the core. A n d this is connected to the fact that these things can, indeed, These be expressed deep things clearly, discovered, matter, talked about. not which really they are

f r a g i l e t h e y are so solid that they can be talked about, expressed quite clearly. W h a t makes them hard to find is not that they are unusual, strange, hard to expressbut on the contrary that they are so ordinary, so utterly we basic in the ordinary bread and butter s e n s e t h a t amples: one from the beauty of old prayer other from the art of building.

never think of looking for them. L e t me give t w o exrugs, the

The

old

Turkish

prayer

rugs,

made

two

hundred

years ago, have the most wonderful

colors.

219

THE

GATE

A l l of the good ones follow this rule: wherever there are two areas of color, side by side, there is a hairline of a different third color, between them. This rule is so simple to state. A n d yet the rugs which follow this rule have a brilliancc, a dance of color. A n d the ones which do not follow it are somehow flat. O f course this is not the only rule which makes a rug g r e a t b u t this one rule, simple, banal, almost as it seems, will triple the brilliance and the beauty of a rug. A person w h o k n o w s this rule may be able to make a beautiful rug. A person w h o does not will almost certainly not be able to. A n d all the other features of the great old rugs also depend on other rather simple rules. B u t n o w most of these rules have been f o r g o t t e n a n d now they can no longer make the great rugs, with their glorious colors. The depth, and spirituality, of the rug is not made less by the fact that this rule can be expressed, nor that it is so simple. W h a t matters, simply, is that this rule is extremely deep, extremely p o w e r f u l .

And erned

the

light

in many rule.

glorious

rooms

is also

gov-

by a simple

Consider the simple rule that every room must have daylight on at least t w o sides (unless the room is less than 8 feet deep). T h i s has the same character, exactly, as the rule about the colors. R o o m s which follow this rule are pleasant to be in; rooms which do not follow it, with a f e w exceptions, are unpleasant to be in.

220

THE Or consider

CREATIVE

POWER

OF

LANGUAGE small buildings

one of the most the shrine

beautiful

in the world:

at Ise, in

Japan.

W h a t is it that makes it beautiful? It is the steepness of the roof, the w a y the roof beams cut the sky, the walk around the building, the height of the railing, the perfectly smoothed and rounded w o o d e n columns, the brass covers, which protect the open grain at the end of every beam, the brass bolts let into the smoothly polished planks, the spacing of the columns in the walls, the fact that there are columns at the corners, marking space, the gravel path which leads around the building, the position of the steps, which form the entrance, and provide a place to stop . . . .

Again the

it

is the

particular

patterns which

there,

and

the of

repetition

of the patterns,

creates

the magic

building.

F o r each of., these facts about the building is not just a chance event. I t is a rule which is repeated over and again; it is followed exactly, and the building varies only in the w a y permitted by these rules; the rules adapt to different places in the building and create a slightly different version there; but it is above all their repetition, over and again, and the fact that there is almost nothing else which makes the building come to life, and sit, inspiring, and inviting for us. . . .

You

may

wonderif is there

the

rules

are

so

simple greatP

to

expresswhat

that makes 221

a builder

THE

GATE

A n d indeed, there is an answer. E v e n though the rules are simple, by the time you have twenty, perhaps fifty rules like this in your mind, it takes almost them. It is so easy to s a y o h well, it is too hard to have light on two sides of this room, and that r o o m a t the same time as all other things w e are trying to do. I t will be alright if w e allow this room to have light on just one side. T h e fact is that it will not be alright. B u t to insist, to keep all the rules which matter, freely in your mind, and not to let go of t h e m t h a t does perhaps require unusual character of purpose. inhuman singleness of purpose to insist on t h e m n o t to let go of

But of course, not mean that invent.

the fact that these rules they are easy

are simple or easy

does to

to observe,

Just as a great artist is one w h o observes very carefully the things which make the d i f f e r e n c e s o it does, indeed, take great powers of observationgreat depth, great concentration, to formulate these simple rules. A man w h o k n o w s h o w to build has observed hundreds of rooms, and has finally understood the "secret" of making a room with beautiful proportions say. . . . T h i s k n o w l e d g e exists, in his mind, in the form of a rudimentary pattern, which tells him, under such and such circumstances, create the following field of relationthis ships . . . for such and such reasons. I t may have taken years of observation for him finally to understand rule.

222

THE It may

CREATIVE

POWER that

OF one

LANGUAGE might make a

be hard

to believe

work of art by simply

combining

patterns.

It sounds almost as though there was a box of " m a g i c " parts, so powerful, that anyone thing, simply by combining them. T h i s is absurd, because, of course, it is not possible to make something components. beautiful, merely by combining fixed can make a beautiful

But once again, to do with as "thingsand plex\ and potent

the difficulty keep fields. fieldnot

of believing to think that

it may of they are

have com-

the fact that we tend forgetting

patterns

E a c h pattern is a tionships, capable

fixed,

but a bundle of relatime that it

of being different each

occurs, yet deep enough to bestow life w h e r e v e r it occurs. A collection of these deep patterns, each one a fluid field, capable of being combined, and overlapping in entirely unpredictable ways, and capable of generating an entirely unpredictable system of new and unforeseen relationships. W h e n w e remember this, it may be easier to recognize how powerful they a r e a n d that w e do indeed, have our creative p o w e r as a result of the system of patterns which w e have.

The

source

of life which which

you create have.

lies in the

power

of the language

you

223

THE

GATE

If your language is empty, your buildings cannot be full. If your language is poor, you cannot make good buildings until you enrich your language. If your language is rigid, your buildings must be rigid. If your language is florid, your buildings will be florid. Y o u r language generates the buildings which you make, and the buildings live or not, according to the life your language has. Pattern nothing languages are the source are the source of without a pattern of beauty and all creative language in of the ugliness. T h e y power:

is made

maker's m i n d ; and w h a t that thing becomes, its depth, or its banality, comes also from the pattern language in the builder's mind.

And

now we realize languages from it is not only true power, their grace and empty the that

the truly have.

immense

-power

which gets its

pattern For structure have, the

true that every which spirit comes in the

building people the the The carving the the the great heart from the use.

the languages their life, the

It is also their great languages touching columns of the cathedral guages

which

buildings pattern of the the silence of the lanbeauty of

builders of space

use as well. fire the

cathedrals,

windows,

ornaments, column which use as

capitals, forms from well. come

. . . all these their builders

pattern

224

CHAPTER

I3 LANGUAGE
have longer them

T H E BREAKDOWN OF
But in our time the languages broken sharedy fore

down. Since they are no the processes which keep for down:

deep have broken virtually

and it is thereanybodyy live.

impossible

in our timey to make a building

iiiiiiiiiiiiiiiiiiiigillMlllllllll iiiIiKiiliiiilliiii|H|iii|iiliiiil| iiiiiiiLiiiiiiiiiiiiaiii L iiiiaiiKilIiilIiBlliiii|i2|||i|i||l# iiiiiliiHiiilliiiiiiiBiliHiiiiiiiii iiiiiiiliiiiiiiiiBiiBiiligiiiliiiili iiiillliiiiiilli!iii|i||||!l!!!l!liii jiiiiiiiiijiiaiiii9liiiiaiaai>i iiiiiiiiiiBiililliiiaiiiiiiiiiii

illiiHBBiBBIiBiiiBiliiiUBMiMIilB HIIBBHIiiiiillillillillillilllBlHi

We

know

now that language The mosques most most touching because and

has the -power to houses and the

bring vilmost life builders

things

to life.

beautiful

lagesthe

paths and valleysthe the languages deep. their

awe inspiring

and churchesattained

they have in them used were powerful

But, so far, we have not dealt at all with the conditions under which a language is itself alive, or the conditions under which a language dies.
For all the ugliest and most deadening as well. which generated places in the world Consider, are made from patterns

for example, the language

my office at school. It is an ugly place, terrible, dark and dead. It is one of m a n y similar offices, in the same building: and these offices are generated by the following language : LONG AND NARROW DAYLIGHT AT ONE END ONLY WINDOW THE FULL WIDTH OF THE WALL CONCRETE WAFFLE CEILING, 5' GRID FLUORESCENT LIGHTS AT I O' CENTERS FLAT CONCRETE WALL UNPAINTED CONCRETE CEILING SURFACE STEEL WINDOW PLYWOOD WALL SURFACE This terrible language has generated hundreds in of his offices. B u t the person w h o has this language

mind can never make an office live until he abandons this language altogether. T h e r e is not a single pattern in this

228

THE

BREAKDOWN

OF

LANGUAGE

list, except perhaps the fourth, which is not derelict and at odds with the forces actually at w o r k in such a context.

It is therejore languages make places alone

obvious does live.

that not

the

mere

use

of people

pattern can

ensure

that

Some towns and buildings live, and others don't. If all of them are made by pattern languages, there must be some distinction in the content of these languages, and in the w a y that they are used.

Andy tween make

indeed} those their

there societies

is a fundamental in become which alivey dead. people

difference are able

beto the

environment

and those in which

towns and buildings Pattern

languages are used in both.

But

the

pattern

languages in the t w o kinds of societies are different. I n one case, the pattern languages themselves are somehow alive and help people give life to their surroundings. I n the other case, the languages themselves are dead: and with these languages it is only possible for people to make towns and buildings which are dead.

In

a town

with

a living shared

languagey

the

pattern can use

lanit.

guage is so widely

that everyone

I n agricultural societies everyone k n o w s h o w to build; everyone builds for himself, and helps his neighbor build.

229

THE And

GATE bricklayers, to

in later traditional societies there are

carpenters, p l u m b e r s b u t everyone still k n o w s how

design. F o r example, in Japan, even fifty years ago, every child learned how to lay out a house, just as children learn football or tennis today. People laid out their houses for themselves, and then asked the local carpenter to build it for them. W h e n the language is shared, the individual patterns in the language are profound. T h e patterns are always simple. N o t h i n g which is not simple and direct can survive the slow transmission from person to person. T h e r e is nothing in these languages so complex that someone cannot understand it. Cornerstones window; water in for a stone building; a shelf by the a seat by the front d o o r ; the neighborhood; a dormer edge windows; running to the

care for a tree; light and shade w h e r e w e sit; brick water . . .

Just because every detail has to make sense to every man and w o m a n , the patterns are heartfelt, and found. pro-

The

language

covers

the whole

of

life.

E v e r y facet of h u m a n experience is covered, in one w a y or another, by the patterns in the language. T h e seven ages of man are all covered, and the variety of all possible acts is covered. T h e broken fabric. entire culture, and the environment which supports it, forms a single un-

230

THE The connection is

BREAKDOWN between the

OF

LANGUAGE and the act of

users

building

direct.

Either the people build for themselves, with their o w n hands, or else they talk directly to the craftsmen over the small details which are built. The paired. whole emerges by itself and is continually Each person in a town knows that his reown who build for them, with almost the same degree of control

small acts help to create and to maintain the whole. E a c h person feels tied into society, and proud because of it.

The found.

adaptation

between

people

and buildings

is

pro-

E a c h detail has meaning. E a c h detail is understood. E a c h detail is based on some person's experience, felt. Because the adaptation is detailed and profound, each place takes on a unique character. Slowly, the variety of places and buildings begins to reflect the variety of human situations in the town. T h i s is w h a t makes the town alive. T h e patterns stay alive, because the people w h o are using them are also testing them. and gets shaped right, because it is slowly thought out, and deeply

But,

by contrast, die.

in the early experienced

phases

of industrial the

so-

ciety which languages

we have

recently,

pattern

Instead of being widely shared, the pattern

languages

231

THE

GATE

which determine how a town gets made become specialized and private. Roads are built by highway engineers; buildings by architects; parks by planners; hospital consultants; schools by educational hospitals by specialists;

gardens by gardeners; tract housing by developers. T h e people of the t o w n themselves know hardly any of the languages which these specialists use. A n d if they want to find out w h a t guard their these languages contain, language jealously to they make can't, because it is considered professional expertise. T h e professionals themselves indispensable. E v e n within any one profession, professional jealousy keeps people from sharing their pattern languages. A r c h i tects, like chefs, jealously guard their recipes, so that they can maintain a unique style to sell. The languages start out by being specialized, and hidden from the people; and then within the specialities, the languages become more private still, and hidden from one another, and fragmented.

Most

people

believe and

themselves planners.

incompetent

to

design properly

anything

and believe

that it can only be done

by architects

T h i s has gone so far that most people shrink, in fear, from the task of designing their surroundings. T h e y are afraid that they will make foolish mistakes, afraid thing "in bad taste." A n d the fear is justified. that Once people will laugh at them, afraid that they will do somepeople w i t h d r a w from the normal everyday experience of

232

THE

BREAKDOWN

OF

LANGUAGE

building, and lose their pattern languages, they are literally no longer able to make good decisions about their surroundings, because they no longer k n o w w h a t really matters, and what doesn't.

Peofle tions. If

lose

touch

with

their

most

elementary

intui-

they read somewhere

that large plate glass picture

w i n d o w s are a good idea, they accept this as wisdom from a source wiser than t h e m s e l v e s e v e n though they feel more comfortable sitting in a room with small w i n d o w panes, and say how much they like it. But the fashionable taste of architects is so persuasive that people will believe, against the evidence of their o w n inner feelings, that the plate glass w i n d o w is better. T h e y have lost confidence in their o w n j u d g m e n t . T h e y have handed over the right to design, and lost their o w n pattern languages so utterly that they will do anything which architects tell them. Y e t , architects themselves, have lost their intuitions too. Since they no longer have a widely shared language which roots them in the ordinary feelings people have, they are also prisoners of the absurd and special languages which they have made in private.

Even

the buildings

built

by architects

start to be

full

of obvious

"mistakes."

33

THE

GATE

T h e recently built C o l l e g e of E n v i r o n m e n t a l Design at the University of California, Berkeley, was designed by three w e l l - k n o w n architects. In a certain part of this building, at the end of each floor, there are t w o seminar rooms. T h e s e seminar rooms are long and n a r r o w ; one of the short walls is filled by a w i n d o w ; the blackboard is mounted along one of the long walls; each room is funcfilled by a l o n g n a r r o w table. T h e s e rooms are

tionally defective in a number of obvious ways. First of all, a long narrow table, and the l o n g narrow group of people which form around it, are not suitable for intense discussion; this is a seminar r o o m i t should be more nearly square. Second, the position of the blackboard with respect to the w i n d o w means that half of the people in the room see the w i n d o w reflected on the blackboard, and can't read w h a t is written t h e r e t h e blackboard should be opposite the w i n d o w . T h i r d , because the w i n d o w is so large, and so low, the people w h o sit near it appear silhouetted to those w h o are sitting further a w a y . It is extremely difficult to talk properly with someone seen in silhouettetoo many of the subtle expressions of the face get lost. Seminar communication suffers. T h e window should be above the height of a sitting person's head.

Specific building.

patterns,

like, for instance, from people's

the LIGHT ON TWO knowledge about

SIDES pattern,

vanish

A t one time it would have been unthinkable to build any

234

THE

BREAKDOWN

OF

LANGUAGE

room, except a stable or a workshed, without w i n d o w s on t w o sides. In our o w n time, all knowledge of this pattern is forgotten. M o s t rooms, in most buildings, have light from one side only. A n d even a " g r e a t " architect like L e Corbusier, builds whole apartments, long and n a r r o w , with w i n d o w s only at the narrow e n d a s he did in the Marseilles apartments b l o c k w i t h terrible glare and discomfort as results. T h e r e is not a single building built in recent times, nor a single part of a city laid out by planners, in which such trivial mistakescaused by the loss of patternscannot be described a hundredfold. T h i s is as true of the greatest works of so-called modern masters, as of the most m u n dane works built by tract developers.

And

those

few

patterns

which

do remain and stupid.

within

our

languages

becomes

degenerate

T h i s follows naturally from the fact that the languages are so highly specialized. T h e perience once formed users, whose direct no longer exhave the languages,

enough contact to influence them. T h i s is almost bound to happen, as soon as the task of building passes out of the hands of the people w h o are most directly concerned, and into the hands of people w h o are not doing it for themselves, but instead for others. So long as I build for myself, the patterns I use will be simple, and human, and full of feeling, because I understand my situation. B u t as soon as a f e w people begin to build for " t h e m a n y , " their patterns about w h a t is needed become abstract; no matter how w e l l meaning they are,

235

THE

GATE

their ideas gradually get out of touch with reality, because they are not faced daily with the living examples of w h a t the patterns say. If I build a fireplace for myself, it is natural for me to make a place to put the wood, a corner to sit in, a mantel wide enough to put things on, an opening which lets the fire d r a w . But, if I design fireplaces for other p e o p l e n o t for m y s e l f t h e n I never have to build a fire in the fireplaces

I design. Gradually m y ideas become more and more influenced by style, and shape, and c r a z y n o t i o n s m y feeling for the simple fireplace altogether. business of making fire leaves the

So, it is inevitable that as the w o r k of building passes into the hands of specialists, the patterns which they use become more and more banal, more willful, and less anchored in reality.

Of

course,

even

now

a town sort.

still

gets its shape

from

pattern

languages

of a

T h e architects and planners and bankers have pattern languages which tell them to build gigantic steel and concrete buildings. T h e users have a f e w shattered patterns left in their vocabulary: a sheet of plastic to make a kitchen counter; huge plate glass w i n d o w s for the living r o o m ; w a l l - t o - w a l l carpet in the b a t h r o o m a n d they enthusiastically piece these patches together, w h e n e v e r they have a free weekend.

236

THE But these and

BREAKDOWN

OF

LANGUAGE languages are dead

remnants

of our former

empty.

T h e y are based mainly on the by-products of industry. People use plate glass windows, formica counters, wall-towall carpet, because industry makes them available, not because these patterns contain anything essential about life, or how to live it. T h e time w h e n a pattern language was a song, in which people could sing the whole of life, is gone. T h e pattern languages in society are dead. T h e y are ashes and f r a g ments in the people's hands.

As

the

pattern

languages

die,

everyone and

can see buildings.

the

chaos which

emerges

in our towns

B u t the people do not k n o w that it is the pattern languages which cause it. T h e y know that buildings are less human than they used to be. T h e y are willing to pay great prices for old buildings which were made at a time w h e n people still k n e w how to make them human. T h e y complain bitterly about the lack of life, the danger, the merciless inhuman quality of their environment. B u t they do not know w h a t to do about it.

In panic, people ganic control. process,

try to replace by artificial

the lost order of order

of the orbased on

forms

237

THE

GATE

Since the natural processes of building towns no longer w o r k , in panic, people look for ways of " c o n t r o l l i n g " the design of towns and buildings. Those architects and planners w h o have become concerned kinds of efforts to gain environment: 1. T h e y try to control larger pieces of the environment (this is called urban design). 2. T h e y try to control more pieces of the environment (this is called mass production or system-building). 3. T h e y try to control the environment more firmly, by passing laws (this is called planning c o n t r o l ) . "total by the insignifiof the

cance of their influence on the environment make three design" control

But this makes These

things

still

worse. although they do control

totalitarian

efforts,

more of the environment, have exactly the w r o n g effect. T h e y cannot create a whole environment, because they are not sufficiently responsive to the real needs, forces, demands, problems, of the people involved. Instead of making the environment more whole, they make it less whole. A t this stage, the pattern languages become still more fragmented, and more dead. T h e y are controlled by even fewer people; they have even less of the living connection with the people which they need.

The

variety,

once created

by organic

and natural

pro-

cesses, disappears

altogether.

238

THE Experts try

BREAKDOWN to make

OF

LANGUAGE buildings which are

towns and

adapted to people's needs, but they are always trivial. T h e y can only deal with general forces, which are common to all men, and never with the particular forces that make one particular man unique and human.

Adaptation

of buildings

to people

becomes

impossible. "adapt-

E v e n w h e n experts make buildings which are

able," to solve this problem, the result is still trivial, because the unique particulars are still subservient to the c o m m o n generalities. H u g e machine-like buildings which allow people to move the walls around, so that they can express themselves, still make them subject to the " s y s t e m . "

Andy

finallyy

people

lose

their

ability

to make

life

al-

together. O n c e the c o m m o n language has been broken d o w n , the individual languages which, in a living culture, are always private versions of the common language, are also broken down. A n d not only that. It even becomes impossible for people to create, or re-create, n e w private languages, because the absence of a c o m m o n language means that they lack the core of fundamental stuff they need to form a living language for themselves. A t this stage, people can no longer even make a w i n d o w or a door which is beautiful.

239

THE It must be obvious alive from

GATE all of this, a living that a town in it. can-

not become

without

language

It is impossible, utterly impossible, to make a building or a town which is alive by control from above. A n d it is impossible for the people to make the town for themselves with the ashes of the dead language which they have. now

The

fact

is, of

that the

the

creation process.

of

a town, in

and

the is

creation

individual a genetic

buildings

a town,

fundamentally

N o amount of planning or design can replace this genetic process. A n d no amount of personal genius can replace it either. O u r emphasis on objects, has blinded us to the essential fact that it is above all the genetic process which creates our buildings and our towns, that it is above all this genetic process which must be in good order . . . and that this genetic process can only be in good order, w h e n the language which controls it, is widely used, and shared. People need a living language, in order to make buildings for themselves. B u t the language needs the people too . . . so that its constant use, and feedback, keeps its patterns in good order. widely

And this conclusion, simple though it is, calls for a shattering revision of our attitude to architecture and planning.
240

THE

BREAKDOWN

OF

LANGUAGE

In the past, eacli act of planning or design w a s thought of as a self-contained, and original, response to the demands of a local situation. Architects and planners assumed, implicitly, that the structure of the town is generated the accumulation of these self-contained acts. T h e picture which our arguments have led us to is radically different. A c c o r d i n g to this view, there are underlying languages which already contain most of the structure that will appear in the environment. T h e acts of design which have been thought of as central are acts which use the structure already present in these underlying languages to generate the structure of specific buildings. In this view, it is the structure of the underlying language which is doing most of the hard w o r k . If you w a n t to influence the structure of your town, you must help to change the underlying languages. It is useless to be innovative in an individual building, or an individual plan, if this innovation does not become part of a livingpattern language which everyone can use. A n d we may conclude, even more strongly, that the central task of "architecture" is the creation of a single, shared, evolving, pattern language, which everyone contributes to, and everyone can use. by

So long

as the feofle which

of society used be

are separated, to shape their

from build-

the language

is being cannot

ings, the buildings

alive.

If we w a n t a language which is deep and p o w e r f u l , w e can only have it under conditions w h e r e thousands of peo241

THE

GATE

pie are using the same language, exploring it, making it deeper all the time. And shared. this can only happen w h e n the languages are

In the next

four

chapters,

we shall

see how it is

posonce

sible to share our language,

and to make it living

242

CHAPTER

14

P A T T E R N S W H I C H CAN BE S H A R E D
To work our way toward a shared living language learn how to discover and first are

once again, we must patterns which life.

deep, and capable of generating

If we hope life, we must

to bring begin

our towns to re-create so full

and buildings our languages, with almost that the

back in

to

such we own a be

a way that all of us can use them: in them make accord, To shared. H o w can this be done? but it is not necessary so intense, these to with begin start within languages requires patterns, will,

patterns

of life again,

that what of its

sing. this about simply we find can in a way that

way of talking

I n a traditional culture, these for you to recognize them as

patterns exist as independent entities within your mind, separate atomic units, nor to k n o w them by name, nor to be able to speak about them. It is no more necessary than it is for you to be able to describe the rules of g r a m m a r in the language which you speak. H o w e v e r , in a period w h e n languages are no longer widely shared, w h e n people have been robbed of their intuitions by specialists, w h e n they no longer even know the simplest patterns that were once implicit in their habits, it becomes necessary to make patterns explicit, precisely and scientifically, so that they can be shared in a new way explicitly, instead of implicitlyand discussed in public.

In

order

to make complex

patterns structure

explicit, of a

so that

they

can review

be shared the very

in this new way, we must

first of all

pattern.

T h r o u g h o u t this book w e have had a gradual awakening,

246

PATTERNS a growing

WHICH of

CAN what

BE

SHARED is. This

understanding

a pattern

a w a k e n i n g began, in chapters 4 and 5, where the concept w a s first d e f i n e d ; the concept w a s then extended and refined, in chapter 6 and then again in chapters 10, and 12. I shall n o w describe the structure of a single pattern precisely, in a way that includes all the properties which living patterns have to have, as they have been discussed in all these chapters. II

Each

pattern

is a three-part a certain

rule, context,

which

expresses and

a a

relation solution.

between

a problem,

A s an element in the w o r l d , each pattern is a relationship between a certain context, a certain system of forces which occurs repeatedly in that context, and a certain spatial configuration which allows these forces to resolve themselves. A s an element of language, a pattern is an instruction, which shows how this spatial configuration can be used, over and over again, to resolve the given system of forces, w h e r e v e r the context makes it relevant. T h e pattern is, in short, at the same time a thing, which happens in the w o r l d , and the rule which tells us how to create that thing, and w h e n we must create it. It is both a process and a thing; which will generate that thing. both a description of a process thing which is alive, and a description of the

Patterns

can exist at all

scales. 247

THE

GATE

Patterns can be stated equally well for the human details of buildings, the overall layout of a building, large-scale economics, construction. F o r example, the distribution of subcultures in a region, the layout of m a j o r roads, the organization of work groups in an industry, the arrangement of trees at the edge of a forest, the design of a w i n d o w , the planting of flowers in a garden, the layout of a sitting room, might all be specified by patterns. social aspects of urban planning, details of structural engineering, ecology, regional building

And forces.

a pattern (All the

may

deal series).

with

almost

any are

kind

of in

following

patterns

defined

Volume

2 of this

ENTRANCE TRANSITION resolves a conflict a m o n g inner psychic forces. MOSAIC OF SUBCULTURES resolves a conflict a m o n g social and psychological forces. WEB OF SHOPPING resolves a conflict a m o n g economic forces. EFFICIENT STRUCTURE resolves a conflict a m o n g structural forces. GARDEN GROWING WILD resolves the conflict between forces of nature, the natural g r o w i n g process in plants, and people's natural actions in a garden. WEB OF TRANSPORTATION resolves forces which partly in the field of human politics of public agencies. STILL WATER resolves conflicts a m o n g forces which are 248 lie need, and partly in the

PATTERNS

WHICH

CAN

BE

SHARED

partly ecological, and partly in the realm of human fear and danger. COLUMNS AT THE CORNERS resolves conflicts a m o n g forces which arise within the process of construction. WINDOW psychological. PLACE resolves forces which are purely

To make

a -pattern explicit,

we merely clear.

have

to

make

the inner structure

of the pattern

L e t us start with a very simple commonsense

example.

Suppose that we are in a place. W e have a general sense that something is " r i g h t " there; something is w o r k i n g ; something feels g o o d ; and we want to identify this "something" concretely so that w e can share it with

someone else, and use it over and over again. W h a t do w e have to do? A s w e shall now see, there are always three essential things w e must identify. What, Why, exactly, is this something? exactly, is this something helping to make the or where, exactly, will this pattern work?

place alive? A n d when,

We

must

first

define

some

physical

feature

of

the

place, which

seems

worth

abstracting.

T a k e , for the sake of an example, O s t e n f e l d g a a r d e n a beautiful old Danish house built in Copenhagen Open Air Museum. 1685, now in the went A s soon as I

there, I k n e w that it had special qualities which would be useful even today, if I could only pin them d o w n . H o w 249

THE

GATE

is it possible to pin t h e m d o w n i n a w a y that is precise e n o u g h to use o v e r and o v e r a g a i n ?

Suppose f o r the sake of a r g u m e n t , I start w i t h f e a t u r e s like "coziness" or "spaciousness." These features are no d o u b t there. B u t they are n o t directly usable. E v e n if I try to pin d o w n the idea of coziness f u r t h e r , by s a y i n g that the f o r m of the house s o m e h o w clear e n o u g h identified to copy in a n o t h e r ties the f a m i l y Until which I tohave to not g e t h e r , and that this is w h a t m a k e s it c o z y , this is still n o t house. particular spatial relationships help

create this quality at O s t e n f e l d g a a r d e n , I h a v e still a n o t h e r house.

m a n a g e d to i d e n t i f y a n y t h i n g w h i c h I c a n use directly in

Suppose, then, in an e f f o r t to be m o r e c o n c r e t e , I seize on a p a r t i c u l a r spatial r e l a t i o n : the f a c t that there are a l c o v e s r o u n d the e d g e of the m a i n r o o m , that the al250

PATTERNS

WHICH

CAN

BE

SHARED

coves have seats in them, that each one is big enough to hold one or t w o members of the family, and that they both open into the c o m m o n living room. I t is complex, but fairly well defined. It identifies certain parts (living room, alcoves, seats) and specifies a spatial relation between these parts. T h i s pattern is well defined. If you were designing a house, you could incorporate this pattern in the design directly. Y o u could explain the idea to a third person and he could decide, by looking at any house plan, whether or not it had this feature. So far so good. But even so this pattern still w o u l d n ' t be sharable. F o r it to be sharable, w e have to be able to criticize it. A n d to criticize it, w e have to know its functional purpose.

Next,

we must

define

the

problem, into

or the balance.

field

of

forces which

this pattern

brings

W h y is it a good idea? W h a t is the problem which is solved by putting alcoves around a room? In answer to this question, rooms without I might propose something alcoves don't work, like: Living for the following

reasons: the members of a family like to be together; but, in the evenings and on weekends, w h e n they could be, each one follows up his personal hobbiessewing, homework . . . . Because these things are messy, and often need to be left standing, people cannot do them in the living r o o m t h e living room is a place which mustn't get too messy, since visitors might come at any m o m e n t , and it must be a suitable place to receive them. Instead the various members of the family go off to their o w n private 251

THE

GATE

areas to do these t h i n g s t h e kitchen, the bedroom, the b a s e m e n t a n d the family cannot be together. T h e r e are three forces at w o r k here: 1. E a c h person in the family has his o w n private hobbiessewing, carpentry, model-building, homework.

T h e s e activities being w h a t they are, things often need to be left lying about. People therefore tend to db them somewhere where things can be left lying safely. 2. C o m m u n a l places in the house have to be kept tidy, partly on account of visitors, and partly also so that no one person or thing encroaches too heavily on the comfort and convenience of the whole family. 3. T h e people in the family would like to be together while they are doing these different things. In an ordinary house, with an ordinary living room, these three forces are mutually incompatible. T h e alcove brings them into resolution.

Finally, physical into

we must

define

the range will indeed

of contexts actually

where bring it

this system

of forces

exists

and where

this -pattern of

relationships

balance.

B y now the pattern is clear and sharable. B u t one question is Still open. W h e r e exactly does this pattern make sense? D o e s it make sense in an igloo? H a r d l y . Does it make sense in the living room of a cottage does it make sense? where a single person lives alone? Obviously not. W h e n exactly

252

PATTERNS To make

WHICH

CAN

BE

SHARED

the pattern really useful, w e must define the stated problem

the exact range of contexts where is appropriate.

occurs, and where this particular solution to the problem In this case, we should have to define the fact that the pattern applies to the living rooms of all dwellings for large families in the United States and W e s t e r n Europe (perhaps in other cultures, t o o d e p e n d i n g on specific local habits and life styles). F u r t h e r , if a dwelling has more than one "living r o o m " in i t l i k e some English houses which have a front parlor and a back p a r l o r then the alcove idea would not apply to both these living r o o m s o n l y to the one where the family spends most of its time.

We must

see, be

in summary, formulated which context. a relationship allows these

that in the

every form

pattern of a context, and a

we a

define which system

a rule

establishes of forces in that tion which

between forces

arises in that context,

configurathemselves

to resolve

It has the following generic form : C o n t e x t > System of forces > C o n f i g u r a t i o n . A n d , in the previous case, the following specific content: C o m m u n a l > Conflicts between > A l c o v e opening rooms privacy and community off communal room.

253

THE Every living pattern

GATE kind.

is a rule of just this

A n d because it includes the context, each pattern is a selfcontained logical system which makes a double statement of fact, not merely a declaration of value, and is therefore capable of being true or not. I t says, first, that the given problem (the stated conflict a m o n g forces) exists within the stated range of contexts. T h i s is an empirical statement, which can be true or false. A n d it says, second, that in the given context, the given solution solves this given problem a g a i n an empirical statement, which can again be true or false. T h e statement that the pattern is alive, is thus not a matter of taste, or culture, or point of view. It establishes, instead, a definite empirical relationship between a limited context, a set of forces which occurs there, and the pattern which resolves those forces.

In order

to discover

patterns observation.

which

are alive

we

must

always start with

T h e discovery of a pattern which lives is not different from the discovery of any profound thing. It is a slow, deliberate process, tentative, in which w e seek to discover something profound, and where w e recognize only approach a proper formulation slowly. that we shall usually be w r o n g to start with, and that w e may

Eet us take the case of entrances, Start by w a l k i n g

as an

example. entrances,

around, looking

at house

254

PATTERNS

WHICH

CAN

BE

SHARED

paying attention to whether they feel right to you or not, whether they feel comfortable, alive . . . . it Put the entrances in t w o classes: those in which the process of entering feels good, and those in which doesn't.

Now to all

try to discover the ones

some feel feel

property good, good.

which and

is

common from

which don't

missing

all the ones which

O f course, you w o n ' t be able to do this perfectly.

One

entrance may not feel good, but be beautiful in some entirely different w a y ; however, with all the imperfections of experiment, come as near as you can to defining some property which all the good ones have, and which all the bad ones lack: in short, look for the property which makes the difference. criterial

This

property

will

be a, highly

complex

relationship.

I t will not be simple, like "all the good ones are blue, all the bad ones are not b l u e . " In the case of the entrance, for instance, it turns out, in my experience, that all the good ones have an actual place, between the road and the front door, a place in which there is a change of surface; change of v i e w ; perhaps a change of level; perhaps you pass under a branch, or hanging rose, there is often a change of direction, and there is above all this actual place, h a l f w a y between the t w o , so that you pass first from the street to this place, and then again from this

255

THE

GATE

place to the front door. V e r y often, in the best cases, this place has a glimpse of a distant v i e w o f something which you cannot see from the street, nor from the door, but see only for an instant in between the two. O r sometimes it is more mundane than that. I n a typical L o n d o n house, there is just a short platform, raised a couple of steps, marked by its railing, a place to pause. It is rudim e n t a r y ; perhaps too sparse; but in this very restricted and dense situation, at least it does a little of the w o r k .

Now

try

to

identify

the

problem property.

which

exists

in

entrances To

which

lack this

do this, we must try to make explicit just

which

forces are at w o r k ; and w e must formulate the pattern in terms which make it clear just w h y it helps resolve some system of forces that cannot be resolved without it. If w e ask ourselves w h y entrance transitions are important, w e recognize that they create some kind of "in between," a breathing space between the outside and the insidea place of preparation, where a person can change his frame of mind, and adapt to the different conditions: from the loud, noisy, public, vulnerable, exposed feeling of the street, to the private, quiet, intimate, protected feeling of indoors. If w e try to formulate the forces governing this transition precisely, w e see that they shed a great deal of light on the invariant which makes transitions function. F o r example, there is evidence that this " c l e a n i n g " of

256

PATTERNS

WHICH

CAN

BE

SHARED

the street mask happens w h e n a person passes through a zone which is different to the senses, and discontinuous, from the street.

Knowledge the invariant

of the problem which solves

then the

helps

shed

light

on

problem. can

I f , indeed, there are forces like this at w o r k , w e

deduce that the kind of transitions which will w o r k best are those where many different sensual qualities change during the passage from outside to inside: a change of view, a change of surface underfoot, a change of light, a change of sound, a change of height or level, steps, a change of s m e l l a hanging jasmine . . . . If we then take this, the product of our inferences which can be built out of the statement of the problem, and look at some more entrances, with this in mind, our capacity to distinguish entrances which w o r k from those which don't gets sharper. T h e statement of the problem and the forces helps us to sharpen the pattern which is responsible for making the system of forces come to equilibrium. T h e process of observation does not proceed in linear fashion f r o m the problem to the solution, nor from the solution to the problem . . . all directions at once, w e it is a global process, in and and which, by any means w e can, looking at the matter from try to identify a solid reliable invariant, which relates context, problem, solution, in an unchanging w a y .

257

THE Sometimes starting we find our

GATE way to this invariant by

with a set of positive

examples. the

T h a t is w h a t w e have been doing in the case of cases we manage

alcoves, and in the case of the entrances. In each of these to identify an essential feature of a number of places which make us feel good.

At

other

times, from the

we

may

discover examples,

the

invariant and

by

starting them.

negative

resolving

F o r instance: T h e problem of gloom and shade. I notice, let's say, that the northside of my house is dank and dark, and no one ever seems to go there, or use it for anything. I wonder w h a t I can do about it. I look around, and find that those outdoor areas to the immediate north of buildings often seem to be disarrayed, not w o r k i n g , falling apart. T h e n I start looking for those places which don't have any land around them like that. I realize that it happens whenever houses, buildings, manage to be to the north of the land they sit on, with the open land left to the south, so that it gets the sun. I do an experiment to find out if m y intuitions are born out by careful observation. We ask people where they sit outside, around their houses, and where they never sit. I n 19 cases out of 20, the place they sit is to the south of the house, and next to it; the places where they never sit are all to the north. A n d so w e formulate the pattern, SOUTH FACING OUTDOORS. 258

PATTERNS

WHICH

CAN

BE

SHARED finding pat-

T h e positive and negative approaches to

terns are always c o m p l e m e n t a r y n o t exclusive. T h e alcove which started as an abstraction from something positive, might just as well have started with an analysis of w h a t is w r o n g in modern living rooms. T h e south facing open space, which started as a solution to something n e g a t i v e t h e dark and unused character of northern spacealso is inspired, of course, by the w o n d e r and w a r m t h which do face south. of sunny lawns and terraces

And

occasionally, argument.

we do not

start

from

concrete by

obpurely

servation abstract

at all, but build

up the invariant

F o r of course, the discovery of patterns is not always historical. Some of the examples I have given might make it seem as though the only w a y to find patterns is to get them from observation. T h i s would imply that it was impossible to find patterns which do not already exist in the world already: and would therefore imply a claustrophobic conservatism; since no patterns which do not already exist could ever be discovered. T h e real situation is quite different. A pattern is a discovery in the sense that it is a discovery of a relationship between context, forces, and relationships in space, which holds absolutely. T h i s discovery can be made on a purely theoretical level. F o r example, the pattern PARALLEL STREETS was discovered by purely mathematical reasoning, based on the forces which connect high speed vehicular m o v e m e n t to the needs of pedestrians, the problem of accidents, the 259

THE

GATE

huge travel time, the very slow average speeds, etc. A t the time w e discovered it, w e were unaware that it actually was an emerging pattern in the world of the 1 9 6 0 s and only later realized m a j o r cities. In this same sense, it was possible to "discover" uranium, by postulating the existence of a chemical element with certain properties, before it had actually been observed. that separated parallel arteries, without cross streets, was emerging as a pattern in several

In all these ture, which with respect

cases, no matter distinguishes to some

what method, some system places from of

is used} bad forces.

the feaplaces

-pattern is an attempt

to discover good particular

invariant

I t tries to capture just that essencethat field of relationshipswhich is c o m m o n to all possible solutions to the stated problem, in the stated context. It is the invariant behind the huge variety of forms which solve the problem. T h e r e are millions of particular solutions to any given problem; but it may be possible to find some one property which will be c o m m o n to all these T h a t is w h a t a pattern tries to do. M a n y people say they don't like the fact that a pattern gives "one solution" to a problem. T h i s is a serious misunderstanding. O f course, there are thousands, millions, in fact, an infinite number of solutions to any given problem. T h e r e is, of course, no w a y of capturing the details of all these solutions in a single statement. It is always up to the creative imagination of the designer to 260 solutions.

PATTERNS

WHICH

CAN

BE

SHARED

find a new solution to the problem, which fits his particular situation. B u t w h e n it is properly expressed, a pattern defines an invariant field which captures all the possible solutions to the problem given, in the stated range of contexts.

The field

task of finding, is immensely

or discovering, hard. physics.

such an

invariant as any-

It is at least as hard

thing in theoretical

M y experience has shown that m a n y people find it hard to make their design ideas precise. T h e y are willing to express their ideas in loose, general, terms, but are unwilling to express them with the precision needed to make them into patterns. A b o v e all, they are unwilling to express them as abstract spatial relations a m o n g always very good at it; it is hard to do. welldefined spatial parts. I have also found that people aren't

It is easy to say that a house sort house of mysterious the domain. quality, from public

entrance which and

should both also

have

a the it

hides exposes

domain,

to the public

A r g u m e n t about the statement is imprecise.

Architects

have been doing a great deal of woolly thinking of this sort. It is a kind of refuge. I f I say, instead, that the front door must be at least 20 feet from the street, that it should be visible, that w i n d o w s from the house should look onto the area in front of the house, but that it should not be possible to see into these w i n d o w s from the street, 261

THE

GATE

that a change of surface is required during the transition, that the person arriving should enter a domain of a character as different as possible from either of the t w o domains inside the house or on the street, and that he should have a glimpse of some view which lies entirely hidden from the s t r e e t t h e n these statements can be challenged, because they are precise.

But it is very hard to be

precise.

E v e n once you are determined to do it it is terribly hard to make precise statements which really get to the heart of the matter. E v e r y observation, like the one about the mystery of house entrances which I have just made, starts with intuition. T h e task of identifying just precisely those relations that are at the heart of such an intuition, is no easier in architecture than it is in physics, or biology, or mathematics. Making abstractions which are powerful and deep is an art. It requires tremendous ability to go to the heart of things, and get at the really deep abstraction. N o one can tell you how to do it in science. N o one can tell you how to do it in design.

And never

it is especially any one exact.

hard to be precise, of the

because pattern

there which

is is

formulation

perfectly

I t is easy to understand this, w h e n w e recognize simple patterns in precise terms.

how

limited w e are in our mathematical ability even to express

262

PATTERNS

WHICH

CAN

BE

SHARED

T a k e , for example, the idea of a " r o u g h circle." If I ask you to point to things which are rough circles, you can do it easily. B u t if I ask you to define precisely, w h a t we mean by a rough circle, it turns out to be very hard to do. T h e strict mathematical definition of a circle (points exactly equidistant from a point c e n t e r ) , is much too narr o w . N o n e of the rough circles in nature follow this rule exactly. O n the other hand a looser definition (points between nine and ten inches from some given point, for instance), is m u c h too loose. It would include, for instance, a weird z i g z a g g i n g structure, in which no t w o points of the " c i r c u m f e r e n c e " are near each other. Y e t cumference. T o capture " r o u g h circles" exactly, w e must find a formulation which just falls between being too narrow and too loose. B u t this turns out to be a deep, and difficult mathematical problem. A n d if a simple circle, which any child can draw with his finger in the dust, is so hard to pin d o w n , it is easy to see that a complex invariant like "entrance transition," is almost impossibly difficult to pin d o w n precisely. even a rough circle has some kind of continuity along its cir-

Instead, pattern ing,

to strike as a kind field

the balance you must about is the of fluid

between express form,

being

too

nara feel-

row and too loose, a swirling

and visualize which

image,

a morphological pattern.

intuition which

captures

the invariant

T h e pattern ENTRANCE TRANSITION deals with the fact

263

THE

GATE

that people on the street are in a public f r a m e of m i n d , a n d need to pass t h r o u g h a z o n e w h e r e they can take this f r a m e of m i n d o f f , b e f o r e they e n t e r into the kind personal i n t i m a c y or closeness typical in a house. A s w e h a v e seen, there is e v i d e n c e that tin's " c l e a n i n g " of the street mask happens w h e n a person passes t h r o u g h a z o n e w h i c h is d i f f e r e n t to the senses, a n d discontinuous, f r o m the street. So at one time the p a t t e r n w a s f o r m u l a t e d as: " M a k e a path b e t w e e n the street a n d the f r o n t d o o r of the h o u s e ; pass t h r o u g h a transition z o n e w h e r e it c h a n g e s direction, c h a n g e s l e v e l , c h a n g e s s u r f a c e , has a c h a n g e of v i e w , a n d a c h a n g e of light q u a l i t y . " F o r some houses ( e . g . , in a C a l i f o r n i a suburb) this of

p h r a s i n g is p e r f e c t l y e x a c t . B u t , at h i g h e r densities, w h e n there are n o f r o n t g a r d e n s , a n d the f r o n t d o o r on the with street a l l o w s people to stand in d o o r w a y s , in t o u c h and the street. I n a case like this, the transition c a n be h a n d l e d p e r f e c t l y w e l l inside. F o r e x a m p l e , in o u r P e r u houses, w e m a d e a c o u r t , inside the f r o n t d o o r , w i t h the m a i n l i v i n g areas s u r r o u n d i n g this c o u r t , a n d o p e n i n g o f f it. T o pass into the house, a person first passes t h r o u g h the front d o o r , then u n d e r the darkness of the e n t r y w a y , then into the l i g h t of the patio, then into the cool of the which c o n n e c t s the family room veranda is the a n d sala. T h i s

the street, the transition c a n n o t be b e t w e e n the f r o n t door

traditional Spanish s o l u t i o n : a n d , of course, it does c o n tain the ENTRANCE TRANSITION p a t t e r n . B u t , as y o u c a n see, it does n o t f o l l o w the letter of

264

PATTERNS

WHICH

CAN

BE

SHARED

tiie pattern, as stated above:

the transition isn't between

the street and the front d o o r i t is inside the front door. T o make sense of the design, it was necessary to follow the spirit of the pattern, not the letter. W h a t is really happening, is that there is a feeling for a certain kind of morphology, which is geometrical in character, but which is a feeling, not a precisely statable mathematically precise relationship. A pulsating, fluid, but nonetheless definite entity swims in your mind's eye. I t is a geometrical image, it is far more than the knowledge of the problem; it is the k n o w l edge of the problem, coupled with the knowledge of the kinds of geometries which will solve the problem, and coupled with the feeling which is created by that kind of geometry solving that problem. I t is above all, a feeling- a morphological feeling. This morphological feeling, which cannot be exactly stated, but can only be crudely hinted at by any one precise formulation, is the heart of every pattern.

Then, like it

once you discover this, you must

a fluid field

of

relationships to make

redefine

it, as an entity,

operational.

I t is only w h e n you do this that it becomes useful operational instructionbecause you can n o w tell a person to build " o n e of those." R e m e m b e r that our patterns are the building blocks in terms of which we see the w o r l d . Kitchen, sidewalk,

265

THE

GATE are the p a t t e r n s of of them. New our

high-rise office b u i l d i n g t h e s e timeand our w o r l d is m a d e

patterns

m u s t be the n e w b u i l d i n g blocks w i t h w h i c h w e wish to build; and the m e n t a l b u i l d i n g blocks w i t h which we

w a n t to see the w o r l d . Again, consider the ENTRANCE TRANSITION. The

original discovery s h o w s that it is necessary f o r a person to e x p e r i e n c e m a n y d i f f e r e n t c h a n g e s of l i g h t , surface,

direction, v i e w , a n d s o u n d w h e n

he enters a house, so from the public

that the house is sufficiently separated

quality of the street. T h i s can be expressed as a p r o p e r t y of the path from the street to the door. W e can say

that this path m u s t h a v e certain properties. state the insight is n o t yet properly

B u t at this as a

formulated

pattern. T o m a k e it a p a t t e r n , I h a v e to ask m y s e l f : W h a t n e w entity do I w a n t properties? W h a t entity s u m s up a n d captures the field of relationships w h i c h these properties d e f i n e ? entity w h i c h is an a c t u a l space, "the the light and color and view and The answer " is, an where surface to p u t in the w o r l d , to create these

transition sound and

change. O f course, w e k n o w that this " t h i n g " I n o w call transition" is really n o t h i n g but a f i c t i o n : because "the what

seems to be a t h i n g is entirely d e f i n e d by its field of r e l a tions a n y w a y . B u t there is s o m e quality of the human

m i n d w h i c h requires that this field be treated as a t h i n g , in o r d e r for it to be u n d e r s t o o d , a n d m a d e , a n d used as part of a l a n g u a g e .

266

PATTERNS

WHICH

CAN

BE

SHARED

W e must make each pattern a thing so that the human mind can use it easily and so that it may take its part a m o n g the other patterns of our pattern languages.

For the same reason you must be able to draw

it.

If you can't draw a diagram of it, it isn't a pattern. If you think you have a pattern, you must be able to draw a diagram of it. T h i s is a crude, but vital rule. A pattern defines a field of spatial relations, and it must therefore always be possible to d r a w a diagram for every pattern. In the diagram, each part will appear as a labeled or colored zone, and the layout of the parts expresses the relation which the pattern specifies. If you can't draw it, it isn't a pattern.

And a

finally,

for the same reason

too, you must

give

it

name.

T h e search for a name is a fundamental part of the process of inventing or discovering a pattern. So long as a pattern has a w e a k name, it means that it is not a clear concept, and you cannot clearly tell me to make " o n e . " Suppose that I am in the process of discovering the entrance transition pattern. L e t us say that I am dimly aware of the need for some kind of change, between street and house: that sensory changes help to create this change of attitude. Perhaps, to begin with, I call the pattern ENTRY PROCESS. I hope that the name entry process will explain this fact to you. B u t actually, you do

267

THE not k n o w how to create

GATE this c h a n g e of f e e l i n g . Entry

process is still too v a g u e . N o w suppose I call the pattern HOUSE STREET RELATIONSHIP. A t this s t a g e , I a m a w a r e that it is the c o n crete g e o m e t r y which will create the transition. I am a w a r e that some kind of relationship is n e e d e d . B u t I still d o n ' t k n o w w h a t the relationship is. N o w suppose I c h a n g e the n a m e to FRONT DOOR INDIRECTLY REACHED FROM STREET. T h i s specifies a p a r ticular relationship, which I can actually build into a design. B u t it is still a relationship. I t is still hard for me to be sure that it is present, or missing, f r o m a design. So f i n a l l y , I call it ENTRANCE TRANSITION, w i t h idea that the transition is an actual place, b e t w e e n the the

street a n d the house, w i t h certain definite characteristics. N o w I c a n simply ask m y s e l f , H a v e I built an ENTRANCE TRANSITION into m y design? I c a n a n s w e r at o n c e . I f I know tell y o u to build an ENTRANCE TRANSITION, y o u e x a c t l y w h a t to do, and y o u c a n do it. I t is c o n c r e t e , and easy to do. A n d it is m o r e a c c u r a t e . Finally, I understand fully what the problem is, and k n o w w h a t to do about it.

At this stage, People check can the

the pattern discuss it,

is clearly it for

sharahle. improve decide it, for in a

reuse out

themselves, themselves,

observations

themselves w h e t h e r they w a n t

to use the p a t t e r n . . .

particular building w h i c h they are m a k i n g .

A n d , perhaps e v e n m o r e i m p o r t a n t , the p a t t e r n is open e n o u g h to b e c o m e empirically v u l n e r a b l e . 268

PATTERNS

WHICH

CAN

BE

SHARED

W e can ask ourselves: Is it true that this system of forces actually does occur, within the stated context? Is it true that the actual solution, as formulated, really does resolve this field of forces in all cases? Is it true that the precise formulation of the solution is actually necessary: that any entrance which lacks this feature must inevitably have unresolvable conflicts in it, which will communicate themselves to people w h o pass through it? W e can therefore intensify our empirical observations, and begin a second fine-tune round of observations, which will the first observations.

Of course}

even

now the pattern

is still

tentative.

It is an attempt to define an invariant: but always only an attempt. Just because it is solid, a thing, precisely formulated, does not alter the fact that it is still only a guess at w h a t it is that makes an entrance marvelous. T h i s guess may be w r o n g in the formulation of the problem; for instance, the forces may be quite different from the ones which have been described. A n d this guess may be w r o n g in the formulation of the solution; for instance, the actual pattern of relationships required to help resolve the problem may be incorrectly stated.

But it is clear enough,

now,

so that it can be

shared.

A n y o n e w h o takes the trouble to consider it carefully can understand it. I t has a clearly formulated problem, based 269

THE

GATE

on empirical findings that anyone can check for themselves, and check against their o w n experience. It has a clearly formulated solution that anyone can understand, and check against the entrances which seem to w o r k in their part of the w o r l d . It has a clearly formulated context, which allows a person to decide whether the pattern is applicable or not, and lets him see if he agrees with the range of its application. A n d finally, of course, anyone can use the pattern. I t is so concrete, so clearly expressed as a rule, and as a thing, that anyone can make one, or conceive one, in the buildings w h e r e he lives, or in a building which is going to be created. I n short, whether this formulation, as it stands, is correct or not, the pattern can be shared, precisely because it is open to debate, and tentative. Indeed, it is the very fact that it is open to debate, that makes it ready to be shared.

To show formulate describe which own

you finally, -patterns a conversation

how natural which her with an

it is for anyone I shall friend, from Indian a pattern

to now in her

can be shared, define

I tried

to help

experience.

Chris: First of all, just tell me a place that you like very much. Gita: C. G. Shall I describe it to you? N o , just think of it, and visualize it, and r e m e m ber w h a t you like about it. It is an I n n .

270

PATTERNS C. G.

WHICH

CAN

BE

SHARED

N o w , please try to tell me w h a t it is that m a k e s this I n n a special a n d w o n d e r f u l place. W e l l , it is the things w h i c h happen t h e r e i t is a place the where people who are of on all long journeys things m e e t , a n d spend a little time t o g e t h e r , and it is wonderful atmosphere these w h i c h happen there. I like it v e r y m u c h .

C.

C a n y o u try a n d isolate any feature of its design, w h i c h m a k e s it so w o n d e r f u l ? I w o u l d like y o u to try and tell m e , as clearly as you c a n , w h a t I m u s t do to create a n o t h e r place w h i c h is as nice as your Innplease give m e a n instruction which captures one of the g o o d t h i n g s about the design.

G.

I t is not the b u i l d i n g w h i c h

makes

this I n n

so

w o n d e r f u l , but it is the t h i n g s that happen t h e r e it is the people y o u m e e t , the things y o u do there, the stories w h i c h people tell before they go to sleep. C. Y e s , this is e x a c t l y w h a t I m e a n . O f course, it is the a t m o s p h e r e w h i c h m a k e s the I n n so w o n d e r f u l n o t the beauty of the b u i l d i n g , or its g e o m etry; this that G. but I a m a s k i n g y o u if y o u c a n d e f i n e f o r atmosphere the Inn . . . . have possible, the people who pass all m e , w h i c h f e a t u r e s of the b u i l d i n g it is, that m a k e through to c r e a t e this a t m o s p h e r e ,

I d o n ' t u n d e r s t a n d w h a t y o u are s a y i n g . I ings, but on the people.

j u s t told y o u it really doesn't depend on the build-

C.

W e l l , let m e put it like this. I m a g i n e an A m e r i c a n

27 1

THE motel. C o u l d

GATE de-

the a t m o s p h e r e w h i c h y o u are

scribing, happen in an A m e r i c a n m o t e l ? G. O h , n o w I see w h a t y o u are s a y i n g . N o , in these A m e r i c a n motels it does n o t h a p p e n ; there are so m a n y private r o o m s , a n d the people w h o c o m e to the m o t e l , t h e y just pass t h r o u g h the m a i n lobby, they talk at the c o u n t e r f o r a f e w m i n u t e s , a n d then they g o to their r o o m s . T h e I n n I a m t a l k i n g a b o u t is not like t h a t b u t perhaps it is n o t possible in A m e r i c a to h a v e an I n n like t h i s i t is a social p r o b l e m h e r e in A m e r i c a people w a n t to be so p r i v a t e , they do n o t w a n t to m e e t a n d talkand or deperhaps they do n o t like to sleep w i t h their husbands w i v e s w h e r e e v e r y o n e c a n see t h e m s o it is v e r y special, this a t m o s p h e r e that I a m the I n n , a n d their habits, a n d w a y of life. C. Y e s , that is f i n e . E v e r y p a t t e r n has a c o n t e x t . Of

s c r i b i n g i t depends on the people w h o are using

c o u r s e , the p a t t e r n y o u are t r y i n g to d e f i n e m a y not m a k e sense f o r the U n i t e d S t a t e s p e r h a p s it applies o n l y to the c o n t e x t of I n d i a . L e t ' s say that this p a t t e r n is t r u e just f o r I n d i a n o w tell m e w h a t it is all a b o u t . G. A l r i g h t . I n I n d i a , there are m a n y of these I n n s . T h e r e is a c o u r t y a r d w h e r e the people m e e t , a n d a place to one side of the c o u r t y a r d where they eat, a n d also on one side there is the person w h o looks a f t e r the I n n , a n d on the o t h e r t h r e e sides of the c o u r t y a r d t h e r e are the r o o m s i n f r o n t of the r o o m s is an a r c a d e , m a y b e one step up f r o m try and

272

PATTERNS

WHICH

CAN

BE

SHARED

the c o u r t y a r d , a n d about ten feet deep, w i t h a n o t h e r step l e a d i n g into the rooms. During the e v e n i n g e v e r y o n e m e e t s in the c o u r t y a r d , a n d they talk a n d eat t o g e t h e r i t is v e r y s p e c i a l a n d then at n i g h t they all sleep in the a r c a d e , so they are all sleeping t o g e t h e r , r o u n d the c o u r t y a r d . I think it is v e r y i m p o r t a n t , too, that all the r o o m s are similar, so that w h e n they stay here, all the people feel equal, a n d free to talk to e v e r y o n e else. C. I t sounds w o n d e r f u l . N o w , let's talk a b o u t the

p r o b l e m w h i c h the p a t t e r n solves. I s it necessary? D o y o u think that people c a n m a n a g e just as w e l l , w i t h o u t the p a t t e r n as y o u have described it? G. I c a n ' t see h o w else it c a n be d o n e ; if y o u have

the r o o m s separate, a n d p r i v a t e , it b e c o m e s just like a m o t e l , and e v e r y o n e is a l o n e . A n d if y o u d o n ' t eat t o g e t h e r , w h a t c h a n c e is there for talki n g ? I think it m u s t be just as I h a v e described it. All the I n n s I are like know thisI in the can't religious t o w n s even imagine of one India

w h i c h isn't. C. L e t ' s d e f i n e the p r o b l e m like this: " W h e n people

t r a v e l , they are a little l o n e l y ; a n d also since they t r a v e l in o r d e r to be opened up to the w o r l d , they w a n t a c h a n c e to be t o g e t h e r w i t h o t h e r t r a v e l e r s . " N o w , can y o u tell m e w h e n y o u think this pattern m a k e s sense, a n d w h e n it d o e s n ' t w h a t the r i g h t c o n t e x t for the p a t t e r n ? G. Well, it m u s t be very for a place where where people in are this is

traveling

far, and

tliey are

73

THE

GATE

m o o d i n India most of these Inns are at religious places, where people come to make a p i l g r i m a g e I think it is a very special kind of crossroads in a journey, that must be like this. C. G. C. G. W o u l d it make sense in Greenland? I do not understand. D o you think the climate is a part of the context? O i l yes, it is very important that it is a hot place, so that you do not sleep out under the arcade for social reasons only, but because of the heat a l s o you find the place where there are breezes, and you put your bed w h e r e it is most comfortable. C. So the pattern makes sense for any I n n people are on l o n g journeys, in a society where where

they are open to meet people in a very simple w a y , and in a climate where it is hot so that people w a n t to sleep outside.

Now, pattern. We

once

again,

we

have

the

beginnings

of

have

stated

a problemso

far in

very

intuitive have de-

t e r m s a s an atmosphere which plays an important part in the life of an inn where people meet. W e scribed the field of spatial relationshipsthe arrangement of the courtyard, the arcade, the eating place, the sleeping, and the i n n k e e p e r w h i c h make this atmosphere possible. A n d w e have stated the context in which it seems that this pattern makes sense. E a c h of these three needs to be refined, and perhaps made more precisebut have the beginnings of a pattern n o w . . . . 274 we

PATTERNS A great variety discovered.

WHICH of patterns

CAN with

BE this

SHARED format have

been

T e n years ago a group of us began defining patterns, to create a language. 253 of these patterns are n o w published in volume 2 of this series, A Pattern The Language. 2 5 3 patterns range from the very large to the

very small. T h e largest ones deal with the structure of a region, with the distribution of towns, and with the internal structure of a t o w n . . . . middle range patterns cover the shape and activity of buildings, gardens, streets, rooms . . . . and the smallest patterns deal with the actual physical materials and structures out of which the buildings must be m a d e : the form of columns, ment. vaults, windows, walls, windowsills, even the character of orna-

Each essence

of these

patterns

is an attempt which makes

to capture it live.

that

of some situation

E a c h one is an invariant field, needed to resolve a conflict a m o n g certain forces, expressed as an entity which has a name, with instructions so concrete that anyone can make one (or help to make o n e ) , and with its functional basis so clearly stated that everyone can decide for himself whether it is true, and w h e n , and when not, to include it in his w o r l d .

Gradually} many

by hard which

work,

it is possible and which life.

to

discover to

patterns

are deep,

can help

bring a building

or a town to 275

THE

GATE

They of the cultures. But them

vary same

from pattern,

culture slightly

to

culture; there are in and

sometimes versions different to write

they are very cliferent,

sometimes

diferent, them, shared.

it is possible down

to discover

so that they can be

276

CHAPTER

15

T H E R E A L I T Y OF P A T T E R N S
We may then gradually patterns against experience: very simply, make recognizing improve these them

which we share, by testing we can these live, whether patterns or not, jeel.

determine, by

our surroundings

how they make us

We

have

seen

in

the

last

chapter

that people written

there a

is a it. in one self-

process Many volume of these tended sustaining

by which such 2.

a person have

can formulate been

pattern-,

and make

it explicit, patterns

so that other

can use down,

But so far, there patterns to be pattern. patterns

is no guarantee will But actually of life, work, . . .

at all that any Each How a generative, can which are are deep simply

work.

one is inwe and pipe

a source which

is it actually? those which

distinguish worth dreams,

copying,

from

mad imaginings

Suppose that w e are trying to agree about a pattern. H o w can w e agree whether it lives or not? O r , suppose that you someone has written d o w n . H o w can you decide whether to make it part of your language or not? are reading a pattern which

One

test says that a pattern are empirically

is alive true.

if its

individual

statements We know

that every pattern is an instruction

of

the

general f o r m : context conflicting forces configuration So w e say that a pattern is good, w h e n e v e r tions: we can

show that it meets the following t w o empirical

condi-

282

THE 1. The froblem

REALITY

OF

PATTERNS

is real. T h i s means that w e can ex-

press the problem as a conflict a m o n g forces which really do occur within the stated context, and cannot normally be resolved within question. 2. The configuration solves the froblem. T h i s means that w h e n the stated arrangement of parts is present in the stated context, the conflict can be resolved, without any side effects. T h i s is an empirical question. that context. T h i s is an empirical

But

a pattern

is not alive

just one.

because

its

component

statements

are truey one by

O n e of the funniest examples of a pattern I have ever heard of is the "madhouse balcony." T h i s is a pattern which a student once invented. It says that the balcony of any mental patient's room should have a chest-high railing on it. T h e argument is this: on the one hand, people w a n t to be able to enjoy the v i e w and this applies as much to mental patients as anyone else. O n the other hand, mental patients " h a v e a tendency to j u m p off buildings." I n order to resolve this conflict between forces, the railing on the balcony must be high enough to prevent a patient from j u m p i n g over, but low enough so that he can enjoy the view. W e laughed for hours w h e n w e first saw this. A n d yet, absurd as it is, it seems to follow the format of a pattern. I t has a context, problem and solution: and the problem is expressed as a system of conflicting forces. W h a t is it that makes it absurd?

283

THE The fact is that even statements ity as a are true, whole. though

GATE its individual component real-

the pattern

has no empirical

A balcony of this kind will not allow a mad person to heal himself: it will not help to make the w o r l d whole. I t is absurd because we can feel in our bones that it would make no difference at all whether such a balcony was built into the w o r l d or not. W e know that the problem cannot really be solved in this or any related w a y . more

Even clear

the fact reasoning

that a pattern behind

seems not

sensible, mean

and life.

has that

it, does capable

at all

the pattern

is necessarily

of generating

F o r example, the famous radiant city pattern of L e Corbusier with great devotion and seriousness. believed that it w o u l d be possible to give every and he spent many years developing

high He

towers, freestanding in the landscape, was " i n v e n t e d " by family in

light, and air, and access to green, within this pattern: this pattern, theory and practice. H o w e v e r , he forgot, or did not realize, that there was one additional essential force at w o r k in the s y s t e m t h e human instinct for protection and territoriality. The huge, abstractly beautiful green spaces around his high buildings are not used, because they are too public, they belong to too many people at the same time, and they are under the eyes of too many hundreds of apartments

284

THE

REALITY

OF

PATTERNS this

hovering above them.

Under

these circumstances,

one f o r c e a kind of animal territorial instinctdestroys this patttern's capacity to generate life. . . .

A pattern the forces On

only

works,

fully,

when

it deals in the

with

all

that are actually

present

situation. concept.

the face of it this is a simple intellectual

W h e n w e find a pattern which does bring forces into balance, then this pattern will of course begin to generate the quality without a name which is described in chapter 2 b e c a u s e it will contribute to that process in which the forces of the world run free. O n the other hand, a pattern always lacks this quality if it resolves some forces at the expense of others which it leaves unresolved. It should be reasonably easy to identify these patterns which are alive, in these terms, and to distinguish them from those patterns which aren't alive. In practice, though, it turns out to be very difficult.

The are.

difficulty fust

is that exactly

we what

have the

no forces

reliable in a

way

of

knowing

situation

T h e pattern is merely a mental image, which can help to predict those situations where forces will be in harmony, and those in which they w o n ' t . B u t the actual forces which will occur in a real situation, although objectively present there, are, in the end unpredictable, because each situation is so complex, and

285

THE

GATE

forces may g r o w , or die, according to subtle variations of circumstance. If w e formulate a pattern in terms of some system of forces, which w e think describes a situation, and our description of the system happens to be incomplete, then the pattern can easily become absurd. Y e t w e have no analytical w a y of being sure just w h a t the forces are.

What which closer

we need

is a way of understanding this intellectual core. difficulty

the and

forces goes

cuts through

to the empirical

W e need a w a y of k n o w i n g which patterns will really help to bring the world to life and which ones w o n ' t . A n d w e need a w a y of doing it which is more reliable than analytical formulation. A b o v e all, w e need a w a y of doing it, which is anchored in the empirical reality of w h a t will actually happen, without necessarily requiring complex and extensive experiments which are too expensive to do.

To

do this,

we must

rely

on feelings

more

than

in-

tellect. F o r although the system of forces in a situation is very hard to define analytically, it is possible to tell, in a holistic w a y , whether the pattern is alive or not. T h e fact is that w e feel good in the presence of a pattern which resolves its forces.

286

THE

REALITY

OF

PATTERNS

A n d w e feel ill at ease, uncomfortable, w h e n a pattern leaves its forces unresolved.

The

pattern

ALCOVE feels

good

to us, because

we

feel

the wholeness

of the system

there.

T h e r e is an intellectual formulation of the forces which alcoves resolve. F o r instance, they allow us to be private at the edge of a communal gathering, and, at the same time, remain in touch with whatever is communal there. B u t w h a t clinches it, w h a t makes us certain that this formulation has some substance to it, is the fact that alcoves make us feel good. T h e conflict is real, because the alcove makes us feel alive; and w e know the pattern is complete, because w e can feel no residual tension there.

The

pattern

T-JUNCTIONS makes

us feel

good,

because

we feel

the wholeness

of the system

there.

T h e r e is an intellectual formulation of the forces which T - j u n c t i o n s resolve. A T - j u n c t i o n creates less crossing movements, and less conflicts for the drivers, and this puts the pattern on a firm empirical foundation. B u t w h a t clinches it, and makes us certain that the problem is a real one, and complete, is that w e feel more comfortable, more relaxed, w h e n w e are driving in a street whose junctions are all T - j u n c t i o n s . W e k n o w , then, that there are no hidden crossing movements which w e don't expect; there is no possibility of unexpected cars shooting across our p a t h i n short w e feel good there; and we feel good be-

287

THE

GATE

cause the system of conflicting forces which T - j u n c t i o n s resolves is real, and complete.

And there.

MOSAIC OF SUBCULTURES makes again, we feel the wholeness

us jeel of the

good, system

because,

A g a i n there is an intellectual argument,

which

shows

that w h e n subcultures are separated from one another by communal land, each one can g r o w in its o w n w a y . I n this case the system of forces is immensely intricate, and w e must wonder, indeed, if w e have managed to identify a complete balanced system of forces in this pattern. A g a i n , the certainty comes from the fact that w e feel gogd in places where this pattern does exist. In places like the C h i n a t o w n of San Francisco, or in Sausalito, which are vivid with their o w n life because they are a little separate from the nearby communities, w e feel good. W e feel good because w e can feel, in our bones, the lack of inhibition, the spontaneous g r o w t h , which follows its o w n course in these communities, because they are uninhibited by pressure from surrounding communities which have a different w a y of life.

By

contrast,

patterns

made reality

from

thought,

without

feeling,

lack empirical

entirely.

T h e madhouse balcony makes us feel nothing. Certainly, we k n o w at once, w h e n w e first hear it, that a balcony like this will not make us feel w o n d e r f u l . T h e r e is no

288

THE

REALITY

OF

PATTERNS

feeling in it: and this lack of feeling is the w a y our k n o w l edge of its emptiness presents itself to us. A n d L e Corbusier's radiant city makes us feel worse: it actively makes us feel bad. It may excite our intellect, or our imagination; but w h e n w e ask ourselves how w e shall feel in a place which is really built like this, w e k n o w again, that it will not make Again, our feeling is the way our us feel w o n d e r f u l . knowledge of its

functional emptiness presents itself to us.

We see then, tion between feelings

that there is a fundamental the balance of a system which resolves

inner these

connecand our forces. with

of forces,

about the pattern

It comes about because our feelings always deal the totality of any system. If there are hidden

forces,

hidden conflicts, lurking in a pattern, w e can feel them there. A n d w h e n a pattern feels good to us, it is because it is a genuinely wholesome thing, and w e k n o w there are no hidden forces lurking there. that

This makes

it easier to test any given

pattern.

W h e n you first see a pattern, you will be able to tell almost at once, by intuition, whether it makes you feel good or not: whether, you w a n t to live in a world which has that pattern in it, because it helps you to feel more alive. If a pattern does make you feel good, there is a very good chance that it is a good pattern. If a pattern does

289

THE

GATE

not help you to feel good, there is very little chance that it is a good pattern.

We can always ask ourselves us jeel. else. And we can always

just how a pattern ask the same of

makes someone

Imagine someone w h o proposes that modular "aluminum wall panels are of great importance in the construction of houses. Simply ask him how he feels them. He will be able to do dozens of critical experiments which " p r o v e " that they are better, and that they make the environment better, cleaner, healthier . . . . But the one thing he will not be able to do, if he is honest with himself, is to claim that the presence of feels good. H i s feeling is direct, and unequivocal. modular panels is a distinguishing feature of the places in which he in rooms built out of

It

is not

the

same,

at all,

as asking

someone

his

opinion. If I ask someone whether he approves of "parking

g a r a g e s " s a y h e may give a variety of answers. He may say, " W e l l it all depends w h a t you m e a n . " O r he may say, " T h e r e is no avoiding t h e m " ; or he may say, " I t is the best available solution to a difficult problem" . . . and on. on

290

THE

REALITY

OF

PATTERNS

N o n e of this has anything to do with his feelings.

It is also not the same

as asking

for

a person's

taste.

If I ask a person whether he likes hexagonal buildings, say, or buildings in which apartments made like shoe boxes are piled on top of one another, he may treat the question as a question about his taste. In this case he may say, " I t is very inventive," or, wishing to prove that he has good taste, " Y e s , this modern architecture is fascinating, isn't i t ? " Still, none of this has anything to do with his feelings.

And. it is also not thinks of an idea. I

the same

as asking

what

person

A g a i n , suppose

formulate

a certain

pattern,

and

it

describes, in the problem statement, a variety of problems which a person can connect up with his philosophical leanings, his attitudes, his intellect, his ideas about the w o r l d t h e n he may again give me a variety of confusing answers. He may say, " W e l l , I don't agree with your formulation of this or this f a c t " ; or he may say, " T h e evidence you cited on such and such a point has been debated by the best authorities"; or again, " W e l l , I can't take this seriously, because if you consider its long term implications you can see that it would never d o " . . . A l l this again, has nothing to do with his feelings.

It simply

asks for feelings,

and for nothing 291

else.

THE

GATE

G o to places where the pattern exists, and see how you feel there. C o m p a r e this with the way you feel in places where the pattern is missing. If you feel better in the places where the pattern exists, then the pattern is a good one. If you feel better in the places where the pattern does not exist, or you can honestly detect no difference, between the t w o groups of cases, then the pattern is no good.

The

success

of this test hinges about in feofle's

on a fact which feelings about

have de-

not said enough gree of agreement

so farthe

extraordinary

fatterns.

I have found that whereas people can get into the most a m a z i n g and complex kinds of disagreement about the "ideas" in a pattern, or about the philosophy expressed in the pattern, or about the "taste" or " s t y l e " which seems to be implied in a pattern, people w h o come from the same culture do to a remarkable extent agree about the w a y that different patterns make them feel. T a k e , for instance, the need that children have for water. A f e w years ago I was at a meeting in San F r a n cisco w h e r e two hundred people met, for an afternoon, to try to identify things that they wanted in their city. T h e y met in groups of eight, around small tables, and spent the afternoon discussing w h a t they wanted. A t the end of the afternoon, a spokesman f r o m each group marized the things they wanted most. sum-

292

THE Several

REALITY

OF

PATTERNS men-

different groups, quite independently,

tioned the fact that they wanted an opportunity for their children to play in, and with, mud and waterespecially waterinstead of the hard asphalt playing grounds which parks and schools provide. T h i s fascinated me. It happened that one of the patterns in the language w e had been developing, POOLS AND STREAMS, goes into great detail about the fact that children especially, and all of us, need the opportunity to play with w a t e r b e c a u s e it liberates essential subconscious processes. A n d here, unasked for, was tenfold spontaneous confirmation of the pattern, born directly out of people's feelings. O r take the question of the size of hospitals. Officials in Sao Paulo have recently begun construction of the largest hospital in the w o r l d a hospital with 10,000 beds. N o w 9 out of ten peopleprobably 95 out of 1 0 0 w i l l agree that a 10,000 bed hospital fills them with fear and apprehension. Contemplate that simply as an empirical fact. It is an empirical fact of an order of magnitude far vaster than any piddling experiments and surveys which the experts can muster.

There dinary

are level

few of

experiments, of agreement.

in

science, this

where

phenomenon

is capable

generating

extraor-

A n d , yet, for some strange reason w e are not yet willing to recognize the depth, and power and centered-

293

THE ness of just people these

GATE the fact that think Brazilian about this

feelings. If when

do not

feel good

they

hospital were mentioned in the legislature as a means of shedding doubt on the experts' opinions, the legislators would smile politely; it would even be embarrassing to mention feelings in this situation. A n d yet this ocean of shared feeling is the place where we become one with one a n o t h e r t h i s is the source, in the end, of our agreement about pattern languages. It is easy to dismiss feelings as " s u b j e c t i v e " and " u n r e liable," and therefore not a reasonable basis for any form of scientific agreement. A n d of course, in private matters, where people's feelings vary greatly from one person to the next, their feelings cannot be used as a basis for agreement. H o w e v e r , in the domain of patterns, where people seem to agree 90, 95, even 99 percent of the time, w e may treat this agreement as an extraordinary, almost tering, discovery, about the solidity of human and we may certainly use it as scientific. shatfeelings,

But again

for

fear

of repeating

myself, lies only

I must

say

once actual

that the agreement not in their

in peoples'

feelings,

opinions.

F o r example, if I take people to w i n d o w places ( w i n d o w seats, glazed alcoves, a chair by a low windowsill looking out onto some flowers, a bay w i n d o w . . . ) and ask them to compare these window places with those w i n d o w s in rooms where the w i n d o w s are flat inserts into the wall,

294

THE

REALITY

OF

PATTERNS

almost no one will say that the flat windows actually feel more comfortable than the w i n d o w placesso we shall have as much as 95 percent agreement. A n d if I take the same group of people to a variety of places which have modular wall panels in them, and compare these places with places where walls are built up from brick, and plaster, wood, paper, stone . . . almost none of them will say that the modular panels know how they feel. A g a i n , 95 percent agreement. But the moment I allow people to express their opinions, or mix their ideas and opinions with their feelings, then the agreement vanishes. Suddenly the staunch adherents of modular components, and the industries which produce them, will find all kinds of arguments to explain why modular panels are better, why they are economically necessary. A n d in the same w a y , once opinion takes over, the w i n d o w places will be dismissed as impractical, the need for prefabricated w i n d o w s as so important . . . them seem compelling. In short, the scientific accuracy of the patterns can only come from direct assessment of people's feelings, not from arguments or discussions. discussed all these arguments in fact fallamake them feel better, so long as I insist that I only w a n t to

cious, but nevertheless presented in a w a y which makes

These

feelings

which

are in reach.

touch

with

reality

are

sometimes

very hard to

Suppose, for instance, that a person proposes a pattern in

295

THE which w a t e r flows

GATE

in four directions from a fountain.

If I say to this p e r s o n d o e s that make you feel good, he says yes, of course, that is exactly w h y I do i t i t makes me feel good. It needs enormous discipline, to say, no, no, wait a minute, I am not interested in that kind of glib stuff. I f you compare the situation where the water comes out in one substantial flow from the pool, and can irrigate an orchard, with the situation w h e r e the water trickles out in four directionsand ask yourself, honestly now, honestlywhich of the t w o makes you feel b e t t e r t h e n be-

you k n o w that it makes you feel better w h e n the flow is more substantialit makes more sense, the world comes more whole. B u t it is hard to admit this, because it takes so much hard w o r k to concentrate attention on the feelings. It is not hard because the feeling is not there, or because the feeling is unreliable. It is hard, because it takes an enormous and unusual amount of attention, to pay attention for long enough to find out which does actually feel better.

Yet

it is only attention, is reliable

this

true this

feeling, feeling

this feeling that requires

that

re-

quires which

effort,

enough

to generate

agreement.

A n d it is only this much deeper feeling, which is connected directly to the balance of forces, and to the emergence of reality. O n c e a person is willing to take his feelings as seriously

296

THE

REALITY

OF

PATTERNS

as this, and pay attention to t h e m a n d exclude opinions and i d e a s t h e n his perception of a pattern can approach the quality without a name.

We

see then rooted

that the concept in the concept of

of a balanced, feeling.

pattern

is

deeply

A n d that our feelings, w h e n they are real feelings, provide us with a powerful w a y of finding out just which patterns are balanced and which ones are not.

But

even

so, feelings

themselves

are not

the

essence

of the

matter.

F o r w h a t is at stake, in a pattern which lives, is not merely the fact that it makes us feel good, but, much more than that, the fact that it does actually liberate a portion of the w o r l d , allow the forces to run f r e e : and liberate the w o r l d from the imprisoning effect of concepts and opinions.

In short, quality

what

is at stake a name

at last, is nothing

but

the

without

itself.

Some patterns have this quality; and others don't. T h o s e which do make us feel good, because they help to make us whole, and w e feel more at one with ourselves in their presence: but still it is the quality itself which most; not the effect which it has on us. matters

297

THE It is, in the which end, the

GATE of this . . . quality between in a one

presence the doesn't.

pattern which

makes

difference

lives and one which

T a k e as an example the relationship between pedestrians and cars. Conventional wisdom has it that pedestrians ought to be separated from cars because it is quiet, and safe for them. B u t n a g g i n g reality shows us that even in towns where they are kept completely separate, the children still run out to play in parking lots, and people still w a l k casually along the roads reserved for cars. T h e fact is that people take the shortest paths, and that cars are where the action There is no doubt that pedestrians do need some

measure of protection from cars, for peace and quiet, and for safety. B u t also, paths need to pass where the action is, where pedestrians can meet the cars. It is possible to deal with both of these forces at the same time. I f w e put pedestrian paths at right angles to roads, crossing them, but not entirely separate from them, w e create peace and safety, but also create places where people on foot and cars can meet, hubs where the action is, where the t w o systems cross. A n d this pattern, which does in fact resolve the conflict in the forces, also corresponds, of course, to just the places where w e feel most comfortable about the relation between cars and people. Isn't it true that in the busy part of a city, a system of paths which is entirely separate from

298

THE

REALITY

OF

PATTERNS

cars is too quiet, artificial, a l m o s t u n r e a l ? I s n ' t it, instead, those paths w h i c h are quiet, b e a u t i f u l , pedestrian paths but w h i c h do lead up to a road, w h i c h m a k e us feel perfectly in balance w i t h these forces? A s k y o u r s e l f , if y o u d o n ' t k n o w a path like this in a city, w h e r e the road w i t h cars on it is in sight, crossing the path, but at one just r i g h t . T o this e x t e n t , this p a t t e r n , NETWORK OF PATHS AND CARS, is based on reality. So l o n g as the c o n t e x t r e m a i n s in w h i c h w e have cars in the w o r l d , this is the p a t t e r n which takes the f o r c e s as they are a n d resolves them, w i t h o u t bias, by t r e a t i n g t h e m e x a c t l y as they really are. end a n d ask y o u r s e l f , w h e n y o u are t h e r e , if y o u d o n ' t feel

It is reality

itself

which

makes

the

difference.

T a k e a n o t h e r e x a m p l e : I n the houses w e built in P e r u , w e based o u r patterns on the u n d e r l y i n g f o r c e s w e could detect in people's lives. Since m a n y of these f o r c e s are many Perua the

a g e s old, w e w e r e led to create houses w h i c h have f e a t u r e s in c o m m o n w i t h the a n c i e n t a n d colonial vian traditions. For example, we gave each right and

house inside a

"Sala"a front door,

special f o r m a l l i v i n g for receiving formal

room,

guests,

family further GRA-

room, where back into the

the f a m i l y t h e m s e l v e s m i g h t live, house (see the pattern

INTIMACY

DIENT) . A n d w e g a v e the houses l e a n i n g niches, outside the f r o n t doors, w h e r e people c o u l d stand, half in, half outside the house, w a t c h i n g the street (see the pattern com-

FRONT DOOR RECESSES). T h e s e

p a t t e r n s are both

299

THE

GATE

mon in traditional Peru. People criticized us strongly for trying to go back to the past, w h e n they said, the Peruvian families themselves were struggling to catch up with the future, and wanted houses just like A m e r i c a n houses, so they could have a modern w a y of life. T h e issue here is not one of past or present or future. It is a simple fact, that a Peruvian family with a single living room, will experience conflict w h e n e v e r a stranger visits t h e m t h e y try to keep their family around the dinner table, talking and watching T V ; yet, at the same time, they try to present the visitor with a formal w a y of entering the house, not mixed up with the family. A n d again, if it is not possible to stand in the front door, w a t c h i n g the street, many of the w o m e n will experience a conflict between the fact that, being w o m e n , they are expected to retire, not to be too f o r w a r d , or to sit openly on the s t r e e t a n d yet, being shut inside the house, they w a n t to experience some connection with the street and the street life. I do not judge these facts. T h e y are simply facts about the dynamics of being Peruvian in 1 9 6 9 . So long as these forces exist, people will experience unresolvable conflicts, unless the patterns are present and will, to this extent, be less able to become w h o l e .

And begin

it is in to see life.

the the

end with

only

when

our

feelings that of

are we gen-

;-perfectly erating

in touch

the reality which

of forces, are capable

-patterns

300

THE

REALITY

OF

PATTERNS

T h a t is w h a t is h a r d b e c a u s e so often people choose to put their o w n opinions f o r w a r d , in place of reality. I n many cases, people react to the description of these forces by saying "it should be otherwise." F o r instance, ENTRANCE TRANSITION is based, in part, on the fact that in a city street, people have a mask of street behavior, which needs to be wiped off by a transition, before a person can relax in a private or secluded place. O n e person's comment on this pattern w a s : T h i s fact is bad; people should learn to be the same in the street as they are in private places, so that w e can all love one another. T h e comment is nice in its intent. B u t human beings are not so malleable. T h e street mask is created by us, in spite of our o w n volition: the fact that it comes into being is a fundamental situations. T h e r e is little purpose, then, in saying: It would be better if this force did not exist. F o r if it does exist anyw a y , designs based on such wishful thinking will fail. The beauty of an ENTRANCE TRANSITION, and acceptance of the these fact that it is capable of making us feel at one with ourselves, is based on thoroughgoing forces as they really are. fact about human nature in urban

Yet things really

it is hard "ought are.

to

give

up and

preconceptions recognize things

of as

what they

to be"

F o r instance, the other day a radio advertisement for the

301

THE

GATE

boy scouts said: " W h e n y o u r boy is sitting on the street c o r n e r w i t h other boys, this is u n h e a l t h y g i v e him the c h a n c e to do w h a t all boys are y e a r n i n g to d o g o i n g on l o n g hikes, presented fishing, with and s w i m m i n g . " T h i s statement was fervorand is, of course, ethic, a to religious

deliberate a t t e m p t , by believers in the puritan

impose their conception of w h a t a boy o u g h t to be like, on w h a t a boy is a c t u a l l y like. O f course, a real boy s o m e times w a n t s to g o s w i m m i n g b u t s o m e t i m e s he w a n t s to h a n g out on the street c o r n e r w i t h his friends, a n d s o m e times he w a n t s to look f o r girls. A person w h o believes boy's that these pursuits are " u n h e a l t h y " w i l l n e v e r be able to see the f o r c e s w h i c h are actually at w o r k w i t h a n y sense of reality. H o w c o u l d such a person r e c o g n i z e the reality of the pattern TEENAGE COTTAGE w h i c h nurture the beginnings of says that a teenager or how needs a c o t t a g e slightly r e m o t e f r o m his parents, so as to his i n d e p e n d e n c e ; could he r e c o g n i z e the reality of P U B L I C OUTDOOR ROOM, w h i c h specifically pays attention to the needs w h i c h t e e n a g e r s have to g a t h e r , in urban public places, a w a y their houses. A person w h o believes in slum c l e a r a n c e w i l l be blind to the real facts about the lives of people l i v i n g in slums. A person w h o is c o n v i n c e d that skid r o w o u g h t to be c l e a n e d up will be oblivious to the real forces at w o r k in a hobo's life, because he c a n ' t accept the existence of a hobo. A person w h o is c o n v i n c e d that offices o u g h t to be " f l e x i from in the l i f e a n d w i l l n e v e r be able to use a p a t t e r n language

302

THE

REALITY

OF

PATTERNS

ble" will be oblivious to the real forces at w o r k in groups of people w h o are trying to work. A n y preconception about the w a y things " o u g h t vents you from seeing w h a t is actually going to be" always interferes with your sense of reality; it preonand this will always prevent you from making the environment alive. I t will prevent you from inventing or discovering new patterns w h e n you see t h e m a n d , most of a l l i t will prevent you from using such patterns properly, to create a whole environment.

In

this res feet of

attention values.

to reality

goes

far

beyond

the realm

Usually people say that the choice of patterns depends on your opinions about w h a t is important. O n e person thinks high buildings are best; another person likes low ones; one person likes plenty of space for cars, because he likes driving fast; another one likes the emphasis to be given to pedestrians, because he doesn't like driving. W h e n w e try to resolve disagreements like this, w e are led back to people's fundamental aims in life: to their fundamental goals, or values. B u t people do not agree about their values. So this kind of discussion still leaves us in a position where patterns seem only to depend on opinionsthe best you can say, according to this view, is that a certain pattern does or doesn't help to satisfy a certain goal or value. O r that some " f o r c e s " are " g o o d " and others " b a d . "

303

THE

GATE

But a pattern which is real makes no j u d g m e n t s about the legitimacy of the forces in the situation.

By seeming about pattern

to be unethical, opinions, level

by making or of goals,

no

judgments the

individual

or values,

rises to another

morality. this is a

Its result is to allow things to be a l i v e a n d

higher good than the victory of any one artificial system of values. T h e attempt to have a victory for a one-sided view of the world cannot w o r k a n y w a y , even for the people w h o seem to win their point of view. T h e forces which are ignored do not go a w a y just because they are ignored. T h e y lurk, frustrated, underground. Sooner or later they erupt in violence: and the system which seems to win is then exposed to far more catastrophic dangers. T h e only w a y that a pattern can actually help to make a situation genuinely more alive is by recognizing all the forces which actually exist, and then finding a world in which these forces can slide past each other.

Then

it becomes that

a piece of this pattern exist:

nature. of the ripples is simply without them. finally, then in seeing we have so deep clouded discovered in that it is no longer as eternal, in in a pond, inequilibrium

When we know with terference And,

we see the pattern which

the forces when

any mental

which is clouding we succeed, pattern, as valid, pond. 304 or by images, of a

into a man-made by opinions a piece the surface of nature

as the ripples

CHAPTER

I 6

T H E S T R U C T U R E OF A LANGUAGE
Once we have understood cover individual ourselves, patterns how to diswhich are for face.

alive, we may then make a language for any building task we is The structure by the network individual lives, of the language of connections and the whole.

created

among language degree

patterns:

or not, as a totality, form a

to the

these patterns

It is clear, confidence The regional shape terns

then,

that we can discover and reach reality. cover the every range some

living

patterns, degree in of our of the patand made. to put

and share them, patterns

reasonable of

in their

scale

surroundings:

largest middle the actual

patterns range

cover patterns

aspects cover

structure, with

and activity deal

of buildings,

and the smallest physical materials must about be

structures

out of which we shall together

the buildings said little

So far, though, In this chapter these patterns

we have

language. languages.

see how it is possible to form coherent

A s w e shall see, the possibility of language is latent in the fact that patterns are not isolated. B u t it comes out, in its full force, w h e n w e experience the desire to make something. A s soon as w e w a n t to make a neighborhoodand somethinganywe t h i n g a small thing like a garden seat, a large thing like w a n t to see it whole, then experience the desire which puts a structure on the patterns, and makes language out of them.

Imagine

that I am going

to build

garden.

F r o m chapters 10, I I , and 1 2 , w e k n o w n o w that the garden will not live, nor be a beautiful and stirring place, unless w e have a powerful, and deep and living language for the g a r d e n b e f o r e w e start to lay it out. S o m e h o w , then, I must try to find, or create for m y self, a pattern language for a garden.

39

THE One lished way to start from 2. in volume

GATE for a garden is to get pub-

a language the pattern

some patterns

language

we have

If you go through the patterns in that language, choosing the patterns for a garden which seem relevant for you, you might, for instance, choose the following list of patterns: HALF-HIDDEN GARDEN TERRACED SLOPE FRUIT TREES TREE PLACES GARDEN GROWING WILD ENTRANCE TRANSITION COURTYARDS WHICH LIVE ROOF GARDEN BUILDING EDGE SUNNY PLACE OUTDOOR ROOM SIX-FOOT BALCONY CONNECTION TO THE EARTH GREENHOUSE GARDEN SEAT

But what is it, now, a language?

which

makes

these

patterns

form

I can get these patterns from the published in the order of the larger language.

language,

simply ticking off the ones I like, and writing them d o w n

310

THE

STRUCTURE

OF

LANGUAGE

A n d , of course, I might also include patterns which I have invented myself, or which my friends have told me a b o u t m i x e d in with the others. But w h a t makes a language of t h e m ; and w h a t makes this language whole?

The

structure

of a pattern patterns

language are not

is created isolated.

by

the

fact that individual To

understand this idea, fully, think about the pattern

" g a r a g e , " and concentrate, in particular, on the garage of a single-family house. H o w do you know that a particular building that you see is a garage? O f course, you recognize it partly by the smaller patterns it contains: by the fact that it is the size of a car, by the fact that it has small w i n d o w s or none at all, by the fact that it has a large, full-height door in front, etc. These facts are defined by the pattern which we call "garage." But the pattern of the garage and the smaller patterns it contains are not enough to define the garage fully. If a building with these patterns in this arrangement floating on a boat, you might call it a houseboat, were but

certainly not a g a r a g e ; if it were standing in the middle of a field, with no road leading to it, it might be a toolshed, or a storehouse, but certainly not a garage. F o r a building to be a garage, it has to have a drivew a y leading to it, from the street; and it will probably be to one side of a house, not directly in front or directly behind; and it will probably be fairly near the h o u s e w i t h

1 1

THE

GATE

a direct path to the house. T h e s e larger patterns are part of the garage pattern too.

Each terns which

-pattern it is

then,

defends and

both

on the smaller patterns

patwithin

it contains,

on the

larger

contained.

E x a c t l y the same is true of all the patterns in the language for a garden. E a c h one is incomplete, and needs the context of the others, to make sense. F o r example, a GARDEN WALL taken out of context is merely a pile of bricks. I t becomes a garden wall only w h e n it surrounds a g a r d e n ; that is, for instance w h e n it helps to complete GROWING WILD. ENTRANCE TRANSITION, taken by itself, is merely a place in the open air. W h a t makes it an entrance transition is its position in between the front door and the street, and its view into the more distant g a r d e n ; in short, the fact that it helps to complete the language pattern ZEN VIEW. A n d perhaps most extreme of all, COURTYARDS WHICH LIVE. O f course a courtyard is not a courtyard at all, unless it is surrounded by the buildings which create it: so it is only w h e n this pattern helps to complete the pattern BUILDING COMPLEX, and is itself completed by the patterns BUILDING EDGE and GALLERY SURROUND, that it becomes a courtyard at all. pattern MAIN ENTRANCE, and is itself completed by the smaller HALF-HIDDEN GARDEN or GARDEN

312

THE

STRUCTURE

OF

LANGUAGE of connecthat

Each -pattern sits at the center tions which connect it. help to complete

of a network other

it to certain

patterns

Suppose w e use a dot to stand for each pattern, and use an arrow to stand for each connection between t w o patterns. T h e n A

B means that the pattern A needs the pattern B as part of it, in order for A to be complete; and that the pattern B needs to be part of the pattern A , in order for B to be complete. If w e make a picture of all the patterns which are connected to the pattern A , we see then that the pattern A sits at the center of a whole n e t w o r k of patterns, some above it, some below it.

'

E a c h pattern sits at the center of a similar network.

And

it is the which

network creates

of these the

connections

between

patterns

language.

313

THE

GATE

T h u s a language for a garden might have the structure illustrated here, in which each pattern has its place, connected to the other patterns:

In

this network, as much

the

links

between

the

patterns

are

almost

a part of the language

as the

patterns

themselves. Consider, for example, PRIVATE TERRACE ON THE

STREET and ENTRANCE TRANSITION. So long as I imagine these t w o patterns as free-floating entities, I can imagine an enormous variety of possible houses, or gardens, which contain these patterns: and I can imagine an enormous number of different possible relationships between these patterns. B u t suppose, n o w , that they are connected in the lang u a g e , and that PRIVATE TERRACE ON THE STREET is a part of ENTRANCE TRANSITION. Suddenly I imagine people sipping drinks on the terrace, while arriving guests

314

THE

STRUCTURE

OF A

LANGUAGE

pass the terrace, pass through the people w h o are sitting there. O r suppose, on the contrary, that I imagine PRIVATE TERRACE ON THE STREET to be a part of the back of INTIMACY GRADIENT instead. N o w I have quite the opposite picture: people passing through a more somber, the more peaceful entrance transition, passing through

house, and then coming out on another side, to the terrace, also on the street, but much more private, more secluded. Each time, my image of the individual patterns is changed. A n d each time it intensifies them.

It

is, indeed, sense and helps

the

structure them

of

the

network it

which anchors

makes them,

of individual make

patterns,

because

complete.

E a c h pattern is modified by its position in the language as a w h o l e : according to the links which form the language. A n d in virtue of its position in the whole, each pattern becomes especially intense, vivid, easy to visualize, and more richly visualized. T h e language not only connects the patterns to each other, but helps them to come to life, by giving each one a realistic context, and encouraging imagination to give life to the combinations w f y c h the connected patterns generate.

But

even

when

I have

the patterns so that they

connected form a oneP

to

one

another,

in a network,

language,

how do I know if the language

is a good

315

THE

GATE

Is it complete? Should I add other patterns to it? Should I take certain patterns out? D o e s it hang together? And, above all: W i l l it help me to generate a garden which comes alive? W e may assume that the patterns are individually alive if they follow the precepts of chapters 13 and 14. B u t w h a t about the garden as a whole? W i l l the language allow me to create a w o n d e r f u l , live garden as a whole? A n d h o w can I be sure of this?

The thing

language whole,

is a good when

one, capable

of making and

somefunc-

it is morphologically

tionally

complete. complete, w h e n the patterns to-

It is morphologically details, with no gaps.

gether form a complete structure, filled out in all its A n d it is functionally complete w h e n the system of patterns has that peculiar self-consistency in which the patterns, as a system, generate only those forces which they themselves r e s o l v e s o that the system as a whole, can live, without the action of self-destroying inner conflicts.

The very

language

is morphologically the kind of buildings

complete which it

when

can visualize

generates

concretely.

It means that the general "species" of buildings which this language specifies can be visualized, c o m p l e t e l y n o t as a vague shadowy creature, full of gaps, but as a solid

316

THE

STRUCTURE

OF A

LANGUAGE

entity, whose only lack of clarity lies in the particulars. Suppose, for instance, that I that have I the pattern have no for HALF-HIDDEN GARDEN: but patterns

which tell me w h a t the m a j o r components of the garden are. C o n c r e t e l y : I have no idea h o w to f o r m its edge; I do not know w h a t its main components a r e ; I do not know w h e r e there are any special focal points; I do not k n o w w h a t happens w h e r e the garden meets the house. U n d e r these circumstances, I cannot really visualize the garden at all: because I do not k n o w enough about it. T h i s is quite different from not k n o w i n g how to connect a particular garden with a particular house. It means that there is a fundamental gap in my understanding of how to put this kind of garden together: and it means that w h e n I get to this stage in a real case, I shall have to scratch my head, and~start to think it out from the beginning. O n the contrary, the language for a garden is morphologically complete w h e n I can visualize the garden clearly, as a global structure, even if I don't yet have any specific garden in mind.

And

the language of patterns

is functionally it defines to resolve

complete, capable themselves.

when of

the allow-

system

is fully

ing all its inner forces

A g a i n , consider the garden. W e k n o w from chapters 6 and 7 that it is very possible that inconsistent systems of conflicting forces can exist, and that these forces, w h e n not resolved internally, can gradually destroy the system.

317

THE

GATE

For instance, suppose that the garden makes no provision for the ecological interaction of trees, foundation systems, and shade. T h e shade falls in bad places, systems of roots start to undermine f o u n d a t i o n s a n d the entire relation between building and trees is unstable, because it causes progressive problems, which will, in the end, force drastic changes on the garden, which may selves then lead to other instabilities. It is functionally complete only w h e n all these internal systems of forces are completely c o v e r e d i n short, w h e n there are enough patterns to bring all these forces into equilibrium. them-

In

both

cases,

the

language

is complete

only is

when complete.

every

individual

pattern

in the language cannot

F o r obviously, the language

be complete as a

whole, so long as any individual pattern is itself incomplete. E v e r y pattern must have enough patterns " u n d e r " it, to fill it out completely, morphologically. A n d the problems which it generates. T h u s the pattern BUILDING EDGE is morphologically complete only w h e n the patterns under it are enough to create a full, developed, solid picture of the m a j o r global structure of a building edge. A n d it is functionally complete only w h e n the patterns under it, together, solve all the m a j o r problems, or systems of unresolved conflicting forces, which the existence of a building edge creates. every pattern must also have enough patterns under it, to solve

318

THE We plete. must

STRUCTURE invent each

OF new

LANGUAGE patterns, which whenever is not com-

therefore to fill out

necessary,

pattern

T a k e BUILDING EDGE a g a i n , as an e x a m p l e . T h e patterns in the present l a n g u a g e w h i c h lie directly b e l o w BUILDING EDGE are SUNNY P L A C E , GALLERY SURROUND, OUTDOOR ROOM, GARDEN SEAT, a n d ENTRANCE TRANSITION. A r e there a n y unresolved p r o b l e m s a l o n g the building e d g e , in the presence of these five patterns? T h i s is the question of f u n c t i o n a l completeness. A n d , are there any parts of the building e d g e w h i c h are g e o m e t r i c a l l y clear, and not adequately delineated by these five unpat-

terns? T h i s is the question of m o r p h o l o g i c a l completeness. I t happens that the a n s w e r to both questions is " y e s . " T h e r e is an u n r e s o l v e d p r o b l e m . A n d there is an u n c l e a r g e o m e t r i c z o n e . T h e r e is one part of a building edge the place w h e r e a l o n g blank w a l l simply runs a l o n g a stretch of g a r d e n w h i c h is still p r o b l e m a t i c a l , because it has n o pattern c o v e r i n g it. T h e blank w a l l is u n f r i e n d l y , it will create a part of the g a r d e n , w h i c h is u n c o m f o r t a b l e , n o t easy to use. T h e p a t t e r n BUILDING EDGE itself, says, in very general t e r m s , that the e d g e should be a definite place, and that it should look both w a y s , both t o w a r d s the inside of the house, and t o w a r d s the outside. B u t , in detail, this question of the l o n g blank w a l l r e m a i n s u n s o l v e d . solve it, it w i l l be necessary to i n v e n t some n e w w h i c h is part of BUILDING EDGE, and below To pattern, it in the

l a n g u a g e , a n d w h i c h s o m e h o w succeeds in s h o w i n g h o w to handle this l o n g , b l a n k , u n f r i e n d l y w a l l .

3 9
J

THE

GATE

I do n o t k n o w , just n o w , e x a c t l y w h a t this p a t t e r n is. B u t the e x a m p l e helps to s h o w c l e a r l y , that the f u n c t i o n a l intuition w h i c h tells m e there is a " p r o b l e m " there, c a n n o t be separated f r o m the m o r p h o l o g i c a l intuition w h i c h tells m e that there is a g a p in the g e o m e t r y . We keep w o r k i n g at e v e r y p a t t e r n until w e have a

collection of patterns b e l o w it w h i c h c o m p l e t e l y both f u n c t i o n a l a n d m o r p h o l o g i c a l p r o b l e m s . And I complete the language by creating

resolve

patterns,

a n d e l i m i n a t i n g patterns, until each p a t t e r n is c o m p l e t e .

But given

I must pattern

also

make

sure

that

the

patterns

below

are its principal

components.

T h e r e m u s t n o t be too m a n y p a t t e r n s u n d e r n e a t h a g i v e n pattern. There Consider HALF-HIDDEN of the g a r d e n GARDEN which this will be time. the is one c o r n e r

SUNNY P L A C E ; a n o t h e r place w i l l be an OUTDOOR ROOM p e r h a p s ; there is a need f o r trees, f o r m i n g a p l a c e ; there is the c h a r a c t e r of the g a r d e n as a w h o l e ; GARDEN GROWING W I L D ; there is the relation b e t w e e n the g a r d e n a n d the street, in d e t a i l ; PRIVATE TERRACE ON THE STREET. T h e r e is the possibility of the relation b e t w e e n the house and the g a r d e n : c o v e r e d perhaps by GREENHOUSE T h e r e is the c h a r a c t e r of flowers . . . . in the g a r d e n : perhaps . . . . underneath GROWING

RAISED FLOWERS, a n d the need for v e g e t a b l e s a n d f r u i t : VEGETABLE GARDEN a n d FRUIT TREES B u t n o t all of these n e e d embellish each other. For

to be directly GARDEN

HALF-HIDDEN GARDEN. T h e reason is that some of t h e m example,

320

THE

STRUCTURE

OF

LANGUAGE

WILD, which gives the gardens global character, is itself filled out and completed by RAISED FLOWERS and VEGETABLE GARDEN; and TREE PLACES is itself filled out by FRUIT TREES. T h e s e patterns which can be below the pattern HALF-HIDDEN GARDEN. "reached" through another pattern, do not need to appear directly

It is essential the principal those which

to distinguish components lie still further

those down.

patterns

which

are from

of any given

pattern,

If I have to make a HALF-HIDDEN GARDEN and I can understand it as a thing which has three or four parts, I can visualize it, and begin to create one, for myself, in my o w n garden. But if the HALF-HIDDEN GARDEN has twenty or thirty patterns, all equally its parts, I will not be able to imagine it coherently. It turns out that there are just five patterns which do have to appear immediately below HALF-HIDDEN GARDEN. T h e y are GARDEN WALL, GARDEN GROWING WILD, PRIVATE TERRACE ON THE STREET, SUNNY PLACE, and TREE PLACES. So, within this particular language, these are the chief " c o m p o n e n t s " of a HALF-HIDDEN GARDEN.

And

this process

of defining

the principal completes

components it.

of a given pattern

is what finally

Originally w e think, perhaps, that the main parts of a " g a r d e n " are lawns, and flower beds, and paths. 321

THE

GATE of the pattern PRIVATE

B u t n o w , after careful consideration main components: GARDEN

HALF-HIDDEN GARDEN, w e begin to see that it has five GROWING WILD, TERRACE ON THE STREET, SUNNY PLACE, TREE PLACES, and GARDEN WALL. N o w our whole functional and morphological understanding of the garden has changed. It is not only that w e now see the garden as made up of these particular five new entities, which changes our vision of the garden's form. T h e fact that these five patterns solve five particular problems also changes entirely, our vision of the garden's function.

When given below plete.

every

pattern

has

its then

principal which the lie language

components immediately is com-

by the smaller

patterns

it in the languagey

A n d you see then w h a t a beautiful structure a pattern language has. E a c h pattern is itself a part of some larger p a t t e r n i t is born out of these larger patterns through the forces which occur there, and the conditions which allow these forces to be in harmony. A n d each pattern itself gives birth to smaller patterns which, once again, through forces which must also be in harmony, gives birth to smaller patterns again created by the conditions harmony. which put the l o w e r level forces into

322

THE Now

STRUCTURE

OF extent

LANGUAGE to which the design garden.

we can see the full lies within

of the garden

the language

for the

I f you like the family of gardens which your garden language generates, then the language is fine; but if the language does not conjure up an image of a marvelous place, then there is something w r o n g with it; and w h a t is w r o n g can't possibly be corrected later w h e n you get to the process of design. A t that stage it is much too late. W e tend to imagine that the design of a building or a garden takes a long time; and that the preparation for the process of design is short. But in the process where the language plays its proper part, this gets reversed. The preparation of the language may take a very long time: weeks, months, years. B u t the use of the language, as w e shall see concretely in chapters 21 and 22 and 23, takes no more than a f e w hours.

Essentially, have finished

this 'means that must [or a finished

the

language building).

which itself

you a

prepared garden

be judged

as if it were

Since the finished garden (or building) is controlled anyw a y by just those patterns which appear in it, then you can tell, even before you use the language, whether you will like the places which the language will generate. If the collection of patterns makes a coherent and satisf y i n g whole, and requires no further insights, and no further beauties, to complete them, then the language is

3 3
2

THE

GATE

alright. B u t if you think of the language merely as a convenient tool, and imagine that the garden or the building you create will become beautiful later, because of the finesse with which you handle it, but that the collection of patterns which lie in the language now are not enough to make it beautiful, then there is something deeply w r o n g with the l a n g u a g e ; and you must modify it, until you are satisfied.

So, the real work task of making later generate You structure determine which depth to make But general. live, it thousand you must and the make,

of any -process of design from design.

lies in you it is

this can the

up the language, the one particular the language content will live, of the you of The

which

make the

first, because the language according which individual

which buildings to you the use is a

design.

or not, language have

and wholeness them with. once used of course, can be

it, this times,

language to make

If it has the power buildings live.

to make

a single

building

a thousand

3 4
2

CHAPTER

17

T H E E V O L U T I O N OF A C O M M O N LANGUAGE FOR A TOWN

Then finally, from separate building evolving languages of This

for cliferent structures, the common is the gate.

tasks, we can create constantly, which is

a larger structure

still, a structure for a town.

language

From vidual type. We

chapter

i6,

we know for

how

to construct individual

an

indi-

language, shall

a specific

building two, to be-

see now, of these

in this last chapter languages of a town.

of part

how many

can fit together,

come the common

language

Imagine, to begin with, that w e have made a dozen languages for different building tasks. O n e for a house, one for a g a r d e n ; one for a street; one for a neighborhood, one for a w i n d o w , one for an office, a concert hall, one for a building with apartments in it, one for an office building, one for a shop, one for a public holy place, one for a river's edge, one for a busy crossroads in a t o w n .

As find

we make

the

different overlap.

individual

languages,

we

the patterns

F o r example, w e find that ENTRANCE TRANSITION is part of the language for the garden, and also part of the language for the house. ROAD CROSSING is part of the language for the street, and also part of the language for the busy crossroads. ALCOVE is part of the language for the house, and part of the language for the w o r k s h o p a n d , in some peculiar outdoor version, perhaps also a part of the language for the river's edge. LIGHT ON TWO SIDES OF EVERY ROOM applies to every habitable room, in every kind of b u i l d i n g s o it is in almost all these languages.

3 9
2

THE And, which them cases. more subtly,

GATE patterns similarities, to make of variety

we find also that different have underlying in a greater can be reformulated

in different suggest more

languages, that they general,

and usable

F o r example, in the University of O r e g o n , w e discovered a pattern which w e called DEPARTMENT HEARTH. In our w o r k on clinics, we discovered a pattern which we called TANGENT PATHS. In our w o r k on houses in P e r u , we discovered a pattern called FAMILY ROOM CIRCULATION. A l l these patterns had the same essential bundle of relationships in c o m m o n . A l l of them required a common area at the heart of a social group, placed in such a w a y that people's natural paths passed tangent to this common area, every time that they moved in and out of the place. So, it seemed natural to formulate a deeper, and more general, HEART. pattern which which we applied called to all these different AT THE languages, COMMON AREA

Gradually struct the patterns fies them ture. This larger

it becomes larger from

clear

that it is possible which languages,

to and

conall unistruc-

one much by tying

language, together

contains

the individual them

in one larger

language

is identical

in structure

to

the

smaller languages. B u t in addition, it contains all these smaller languages within it.

330

EVOLUTION

OF

COMMON

LANGUAGE

A g r o u p of us b e g a n to c o n s t r u c t such a l a n g u a g e eight or nine y e a r s a g o . T o down many do it, w e discovered patterns. T h e n we and wrote deh u n d r e d s of discarded

most of these patterns d u r i n g the years, because w e

cided that they w e r e a b s u r d ; or because w e f o u n d m o r e subtle f o r m u l a t i o n s of the same ideas; or because w e f o u n d that t h e y d i d n ' t hold w a t e r e m p i r i c a l l y o r we noticed that t h e y d i d n ' t a c c o u n t , empirically, for d i f f e r e n c e s bet w e e n the places w h e r e w e felt g o o d a n d the places w h e r e w e felt bad. The 253 patterns w h i c h remain are just a handful

w h i c h at this m o m e n t still seem valuable to us. T h e y f o r m the explicit l a n g u a g e , w h i c h is the second v o l u m e of this series, called A Pattern Language.

Our for

version the region

of such

a language

begins

with

patterns

(jpi-7):

INDEPENDENT REGIONS, T H E DISTRIBUTION OF TOWNS, CITY COUNTRY FINGERS, A G R I C U L T U R A L VALLEYS, LACE OF COUNTRY STREETS, COUNTRY TOWNS, T H E COUNTRYSIDE.

It has patterns

for a town

($:82j)

MOSAIC OF SUBCULTURES, SCATTERED WORK, MAGIC OF THE CITY, LOCAL TRANSPORT AREAS, COMMUNITY 7 0 0 0 , SUBCULTURE BOUNDARY, IDENTIFIABLE OF

NEIGH-

BORHOOD, NEIGHBORHOOD BOUNDARY, WEB OF PUBLIC TRANSPORTATION, RING ROADS, NETWORK OF LEARN-

331

THE

GATE

ING, W E B OF SHOPPING, MINI-BUSES, FOUR-STORY L I M I T , NINE PER CENT PARKING, PARALLEL ROADS, SACRED

SITES, ACCESS TO W A T E R , L I F E C Y C L E , M E N AND W O M E N .

It has patterns {#28-48):

for

communities

and,

neighborhoods

E C C E N T R I C N U C L E U S , DENSITY RINGS, A C T I V I T Y PROMENADE, CHANGE, HOUSE SHOPPING STREET, MIX, NIGHT OF LIFE,

NODES, INTER-

HOUSEHOLD ROW

DEGREES

PUBLICNESS, HILL, OLD

CLUSTER,

HOUSES,

HOUSING

P E O P L E E V E R Y W H E R E , WORK C O M M U N I T Y , INDUSTRIAL RIBBON, UNIVERSITY AS A M A R K E T P L A C E , LOCAL T O W N H A L L , N E C K L A C E OF C O M M U N I T Y OF M A N Y TWEEN. SHOPS, HEALTH PROJECTS, HOUSING MARKET IN BE-

CENTER,

It has patterns hood

for the public

land inside

neighbor-

(#49-74):
ROADS, T J U N C T I O N S , GREEN STREETS,

LOOPED L O C A L

N E T W O R K OF P A T H S AND CARS, M A I N G A T E W A Y S , ROAD CROSSING, RAISED W A L K , BIKE P A T H S A N D RACKS, C H I L DREN IN T H E C I T Y , C A R N I V A L , Q U I E T B A C K S , ACCESSIBLE G R E E N , SMALL P U B L I C SQUARES, H I G H P L A C E S , DANCING IN T H E HOLY PUBLIC STREET, POOLS AND STREAMS, GROUND, OUTDOOR COMMON ROOM, LAND, GRAVE BIRTH PLACES, PLAY, WATER,

CONNECTED SITES, STILL

LOCAL SPORTS, A D V E N T U R E P L A Y G R O U N D , A N I M A L S .

332

EVOLUTION

OF

COMMON

LANGUAGE

It has patterns the neighborhood

for the private ($175-94) :

land and institutions

in

T H E F A M I L Y , HOUSE FOR A S M A L L F A M I L Y , HOUSE FOR A C O U P L E , HOUSE FOR ONE PERSON, YOUR OWN HOME,

S E L F - G O V E R N I N G WORKSHOPS AND OFFICES, S M A L L SERVICES MASTER FRONT WITHOUT RED TAPE, OFFICE CONNECTIONS, SOCIETY, SHOP-

AND APPRENTICES, SCHOOLS,

TEENAGE HOME,

CHILDREN'S

INDIVIDUALLY GROCERY, BEER

OWNED SHOPS, STREET C A F E , CORNER

H A L L , T R A V E L E R ' S I N N , BUS STOP, FOOD STANDS, S L E E P ING IN P U B L I C .

Patterns building
BUILDING PARKING,

for

the broad

layout :

of the

buildings

in a

complex

(^95126)
NUMBER

COMPLEX,

OF

STORIES, MAIN

SHIELDED BUILDING, FAM-

CIRCULATION

REALMS,

PEDESTRIAN STREET, BUILDING T H O R O U G H F A R E ,

I L Y OF E N T R A N C E S , S M A L L P A R K I N G LOTS, SITE REPAIR, SOUTH FACING OUTDOORS, POSITIVE OUTDOOR SPACE, THIN EN-

WINGS OF L I G H T , C O N N E C T E D BUILDINGS, LONG HOUSE, M A I N ENTRANCE, HALF-HIDDEN GARDEN,

T R A N C E TRANSITION, CAR C O N N E C T I O N , H I E R A R C H Y OF OPEN ROOFS, PATHS SPACE, COURTYARDS W H I C H ROOF, PATH ROOF SHAPE, LIVE, CASCADE OF

SHELTERING AND GOALS,

GARDEN, BUILDING

ARCADES, FRONTS,

PEDESTRIAN DENSITY, A C T I V I T Y POCKETS, STAIR SEATS, SOMETHING R O U G H L Y IN T H E MIDDLE.

333

THE

GATE

Patterns

for the building

and its rooms

(jp

127158):

I N T I M A C Y GRADIENT, INDOOR S U N L I G H T , C O M M O N AREAS A T T H E H E A R T , E N T R A N C E ROOM, T H E FLOW T H R O U G H ROOMS, SHORT PASSAGES, STAIRCASE AS A STAGE, ZEN

VIEW, T A P E S T R Y OF L I G H T AND DARK, C O U P L E ' S R E A L M , CHILDREN'S REALM, SLEEPING TO THE EAST, FARM-

HOUSE K I T C H E N , P R I V A T E T E R R A C E ON T H E STREET, A ROOM OF ONE'S OWN, SEQUENCE OF SITTING SPACES, BED CLUSTER, OFFICE BATHING SPACE, ROOM, BULK STORAGE, FLEXIBLE WORK

COMMUNAL

EATING,

SMALL

GROUPS, R E C E P T I O N W E L C O M E S Y O U , A P L A C E TO W A I T , S M A L L M E E T I N G ROOMS, H A L F - P R I V A T E O F F I C E , ROOMS TO R E N T , T E E N A G E R ' S C O T T A G E , OLD AGE C O T T A G E , SETT L E D W O R K , HOME WORKSHOP, OPEN STAIRS.

Patterns buildings

for the gardens (# 159-178) :

and the -paths between

the

L I G H T ON TWO SIDES OF EVERY ROOM, B U I L D I N G SUNNY P L A C E , WINDOWS, ROUND, NORTH F A C E , OUTDOOR ROOM, TO THE STREET,

EDGE, STREET SURTHE

OPENING SIX-FOOT

GALLERY TO

BALCONY,

CONNECTION

E A R T H , T E R R A C E D SLOPE, F R U I T TREES, T R E E GARDEN GROWING WILD, GARDEN SEAT, WALL,

PLACES,

TRELLISED GAR-

W A L K , GREENHOUSE, DEN, COMPOST.

GARDEN

VEGETABLE

Patterns rooms

for the smallest (jpr79204):

rooms and closets within

the

334

EVOLUTION ALCOVES, SPHERE, WINDOW

OF

COMMON THE FIRE,

LANGUAGE EATING ATMOLAYOUT,

PLACE,

WORKSPACE

ENCLOSURE,

COOKING

SITTING C I R C L E , C O M M U N A L S L E E P I N G , MARRIAGE BED, BED A L C O V E , DRESSING ROOM, C E I L I N G H E I G H T V A R I E T Y , T H E SHAPE OF INDOOR SPACE, WINDOWS OVERLOOKING LIFE, HALF-OPEN WALL, INTERIOR WINDOWS, STAIRBE-

CASE B A Y , CORNER DOORS, T H I C K

W A L L S , CLOSETS

T W E E N ROOMS, SUNNY C O U N T E R , OPEN SHELVES, WAISTHIGH SHELF, BUILT-IN SEATS, CHILD CAVES, SECRET

PLACE.

Patterns

for the overall

configuration

of

construction

and materials

(#205213):

S T R U C T U R E FOLLOWS SOCIAL SPACES, E F F I C I E N T STRUCTURE, GOOD M A T E R I A L S , GRADUAL STIFFENING, ROOF

L A Y O U T , FLOOR AND C E I L I N G L A Y O U T , T H I C K E N I N G T H E OUTER WALLS, COLUMNS AT THE CORNERS, FINAL

C O L U M N DISTRIBUTION.

Patterns
ROOT

for the details

of construction
FLOOR SLAB,

(#214-232):
BOX COL-

FOUNDATIONS,

GROUND

UMNS, P E R I M E T E R CEILING

BEAMS, W A L L M E M B R A N E S , VAULTS, NATURAL LOW

FLOOR-

V A U L T S , ROOF LOW SILL,

DOORS AND DOORWAY, COL-

WINDOWS,

DEEP

REVEALS,

F R A M E S AS T H I C K E N E D

EDGES, C O L U M N

PLACE,

U M N C O N N E C T I O N , STAIR V A U L T , D U C T SPACE, R A D I A N T H E A T , DORMER WINDOWS, ROOF CAPS.

335

THE And the language finishes

GATE with patterns for details

and color

and ornament

(^233-253) :

FLOOR SURFACE, LAPPED OUTSIDE WALLS, SOFT INSIDE WALLS, WINDOWS WHICH OPEN WIDE, SOLID DOORS WITH GLASS, CANVAS AND FILTERED ROOFS, LIGHT, SMALL PANES, HALF-INCH PLANTS, TRIM, SEAT SPOTS, FRONT DOOR BENCH, SITTING W A L L , RAISED FLOWERS, WARM CLIMBING COLORS, PAVING WITH CRACKS BETWEEN T H E STONES, SOFT TILE BRICK, ORNAMENT, DIFFERENT CHAIRS, POOLS OF LIGHT, THINGS FROM YOUR LIFE.

Such

a language

is, in principle,

complex for a town.

enough

and

rich enough

to be the language

I t c o v e r s all scales, all kinds of social institutions, all the m a j o r kinds of buildings, all the m a j o r kinds of o u t d o o r space; a n d w a y s of building w h i c h are deep e n o u g h to be used for the f u l l variety of buildings in the t o w n .

But

it is not yet fully

living

as a

language.

F i r s t , to be l i v i n g as a l a n g u a g e , it m u s t be the shared vision of a g r o u p of people, v e r y specific to their c u l t u r e , able to c a p t u r e their hopes and d r e a m s , c o n t a i n i n g m a n y childhood things. T h e language w e have constructed, and written d o w n , is built on o u r o w n c u l t u r a l k n o w l e d g e , of c o u r s e : but it is m o r e abstract, m o r e d i f f u s e , and needs to be m a d e conmemories, and special local ways of doing

33

EVOLUTION

OF

A COMMON

LANGUAGE

crete in a particular time and place, by local customs, local climate, local ways of cooking food, local materials. T o be the c o m m o n language of a people, and alive, it has to contain much deeper s t u f f a vision of a w a y of life, personal, able to make concrete people's feelings for their parents and the past, able to connect them to a vision of their future as a people, concrete in all their individual particulars, the are . . . . flowers which g r o w there in that place, the winds which blow there, the kinds of factories there A n d further, a living language must be personal.

A language this

is a living

language

only

when

each

perof

son in society, language.

or in the town,

has his own version

F o r it is then not only an intellectual thing which expresses patterns as invariants, as rules to follow, as k n o w l edge about w h a t makes a building or a town work right. It is, a deeper thing, a felt thing, a thing lived through, which expresses people's innermost attitudes about their w a y of life, their hopes and fears about the ways in which they live and work t o g e t h e r a communal k n o w l e d g e of a w a y of life that will be good for them.

To reach this deeper pattern attitude patterns language to life, from a

state, in which expect

each person just to

has a of his copy

in his mind we cannot book.

as an expression people

227

THE

GATE

I can tell you that ENTRANCE TRANSITION is a good pattern. I can explain the problem to you; and define, in great detail, the physical relationships which make this pattern. B u t you will not have the pattern in your o w n mind, as part of your o w n pattern language, until you have yourself seen several entrances which have this property, seen h o w w o n d e r f u l they are, compared them with other entrances which lack this property, and have then, for yourself, invented your o w n abstraction which pinpoints the difference between the entrances you like and those you don't.

A living each

language mind.

must

constantly

be re-created

in

-person's

E v e n the ordinary language in a person's mind (English, F r e n c h , w h a t e v e r ) is created by h i m i t is not learned. W h e n a baby " l e a r n s " language from his parents, or from the people around him, he does not learn the rules which they have in their l a n g u a g e s b e c a u s e he cannot see or hear the rules. H e only hears the sentences which they produce. W h a t he does then, is to invent systems of rules, for himself, rules which are entirely invented, for the first time, by him. He keeps c h a n g i n g these rules, until with them, he can produce a language similar to the language he hears. A n d at that stage, w e say that he has " l e a r n e d " the language. O f course, his rules are similar to his parents' rules, because they have to generate approximately the same kinds of sentences. B u t in fact, the language he has " l e a r n e d " is a system of rules, entirely created by him, in his o w n 338

EVOLUTION

OF

A COMMON

LANGUAGE

mind. A n d as he modifies his language, and improves it, deepens it, throughout his l i f e h e does it, always, by creating, and improving rules, which he invents.

Just so with pattern

languages.

Y o u r mind has the innate capacity to create a pattern language. B u t its exact c o n t e n t s t h e specific nature of the patterns in your l a n g u a g e i s up to you. Y o u must create them for yourself. Since your experience is never exactly the same as anyone else's, the versions of the patterns which you create are necessarily a little different from the versions that each other person finds out for himself. T h i s does not in any w a y deny the fact that there are objective, deep, invariant truths. It merely means that each person will, w h e n he finds out this truth for himself, wrest a slightly different version of this truth out for himself.

Then, himself,

as each person the language

makes begins

up his own language to be a living one.

for

A n d just as there will be variations from person to person, so too there will be even more noticeable variation from culture to culture. T h e variation from person to person happens because different people actually do have, to some extent, different forces in themselves, and in their lives, and they life-giving, or life-destroying. will therefore experience different configurations of forces as

339

THE

GATE

I n two different cultures, the forces which exist are even more different, and there is even more opportunity for people to experience different systems of forces as life-creating or life-destroying.

Two

neighborhoods collections

with

different

cultures

will

have

different

of patterns

in their

languages. will be

Obviously, for instance, a Latin neighborhood

more likely to include the PROMENADE, in the language for their neighborhood, because they have the habit of the evening stroll. A culture which values privacy will be more likely to have COURTYARDS WHICH LIVE in their houses, because they are secluded, than PRIVATE TERRACE ON THE STREET, which is more open to the street.

Different will terns. quite

neighborhoods often have

just

like

different of the

feofley fat-

different

versions

Suppose that many people have the pattern

INTIMACY

GRADIENT in their languages. In its pure Peruvian form, the family has the most public room in front, the family rooms further back, and the kitchen and bedrooms f u r thest f r o m the street, in strict order. In an English neighborhood, the people may have some version of this pattern in their languages: but modified, so that the kitchen comes closer to the front. I n a neighborhood of workshops, this pattern makes little sense in its original form. B u t even there, it may be

340

EVOLUTION

OF

A COMMON

LANGUAGE

that there is some version of it, which implies that the workshops themselves have a front and a back, and that the front part is more public, and the back more private.

And, have

in

different

neighborhoods, different

the

-people in

may their

systematically

connections

languages. F o r instance, in one neighborhood, people may have a connection between COMMON AREAS AT THE HEART and FARMHOUSE KITCHEN. T h i s means that for them, the farmhouse kitchen is the center of the house, the place where everybody life. But, in another neighborhood, nearby, they have these t w o patterns in their language t o o b u t not connected. F o r these people, their houses have a COMMON AREA AT THE HEART, which is a kind of general comfortable milling space, near the front of the house: and the FARMHOUSE KITCHEN is a small, private area, towards the back, where only close friends of the family meet. comes and goes, the heart of social

We see then, town individual

that a language language.

which

is shared complex

within than

a an

is a vast structure,

far more

N o t merely a n e t w o r k , but a network of networks, a structure of structures, a vast pool of changing, varying, languages which people create for themselves as they take on their different building tasks.

341

THE And living once this kind is of

GATE structure exists, we have a

language

in a town,

in fust the same sense

that

our common

speech

living.

T h i n k about ordinary language. A l l of us w h o speak English have a c o m m o n language, yet it is also true that each of us has created his o w n language for himself, in his o w n b r a i n a n d that each of us has a language which is to some extent idiosyncratic. T h a t is w h y we can recognize each person's favorite words, his style, his funny and special ways of putting things. Y e t even though each of us has his o w n language, the overlap between our languages is e n o r m o u s a n d it is this which gives us a common language.

The

same thing

happens

in

genetics.

E a c h individual member of a given species has a slightly different set of genes on his chromosomes. I f t w o individuals are closely related, there is enormous overlap in the g e n e s o n l y a f e w are different. A s the overlap decreases, we say that the two individuals are members of different subspecies within the species. A n d when the overlap decreases below a certain threshold, we say that they are members of altogether different species.

The gene

genetic pool.

character

of a species

is defined

by

its

T h i s gene pool is the collection of all the genes currently

342

EVOLUTION

OF A C O M M O N

LANGUAGE

possessed by all the individuals in the species. Some of these genes are much more c o m m o n than others. The genes which are most common define the shared character of the speciesthe ones which are less c o m m o n , define individual families and strains. Since every n e w individual in the species gets a combination of genes taken from the gene pool (except for very occasional mutations), the overall statistical distribution of genes in the gene pool stays roughly constant, but drifts as evolution makes some genes die out and others multiply.

Just pool

so, a common of patterns.

pattern

language

is defined

by a

Suppose that every person in society has his o w n personal pattern language. N o w imagine the collection of all the patterns which anyone has in his language. C a l l this collection of patterns the pattern pool. Some of the patterns will occur much more often in the pattern pool than others. T h e ones which occur most often are the ones which are shared by everyone. T h e ones which occur the less often are shared by f e w e r peoplethese will probably be peculiar to some subculture within society. A n d personal patterns, which represent individual ones which occur least often of all, these are the purely people's idiosyncracies. T h e c o m m o n pattern language is not any one language which any one person has in his m i n d i t is defined by the overall distribution of patterns in the pattern pool.

343

THE And, once people share

GATE a language in this way, the

language

will begin evolving

of its own

accord.

O n c e there is a pool of patterns, and thousands of people are taking patterns from this pool, and using them, exchanging them, replacing them, it is certain that, simply by itself, this language will evolve. A s good patterns get shared more widely, and bad patterns die out, the pattern pool will gradually contain more and more good p a t t e r n s a n d in this sense w e may say that a common language is evolving, and becoming better, even at the same time that w e recognize that each person will always have his own personal language, which is just one v e r s i o n a unique v e r s i o n o f language. In this sense, even though any one person's pattern language will always be unique, the overall collection of languages in society will gradually drift towards a common language, represented by the overall character of the pool of patterns. this common

The meal,

language

will

evolve, at a

because

it can evolve

piece-

one pattern

time.

Genetic evolution can happen only because the genes can mutate independently. T h e genes are independent enough, so that a n e w species can evolve by a process in which one gene changes at a time. If possible. it were not for this, the evolution of a complex organism would never have been

344

EVOLUTION

OF A C O M M O N

LANGUAGE

T h e key to the improvement of patterns is also in the fact that it can be piecemeal. Suppose the language you have n o w has 100 patterns. Since the patterns are independent, then you can change one at a time, and they can always get better, because you can always improve each pattern, individually. ( I f the patterns were linked, so that as you improved one pattern, you would also have to change 50 others, the system w o u l d be unstable, and you could never improve it cumulatively.) T h i s means that w e can define, discuss, criticize, and improve one pattern at a time: so that we never have to throw a w a y all the other patterns in a language just because one of them is faulty. A n d any pattern, created by anyone, can fit into any pattern language. In short, as soon as someone defines a really good pattern, it can spread and become part of all the pattern languages in the world, without regard for the other patterns which these millions of different languages contain. It is this one simple fact, which guarantees that the evolution of pattern languages will be cumulative.

As feofle exchange

exchange patterns, fool

ideas about the keefs overall

the environment, inventory of

and fatterns

in the pattern

changing. rare, the

Some patterns drop out altogether, some become some patterns multiply, some new patterns enter

pool. Since there are criteria for deciding which patterns are good, and which ones are bad, people will copy good patterns w h e n they see them, and w o n ' t copy bad ones.

345

THE

GATE

T h i s means that good patterns will multiply and become more c o m m o n , while bad patterns will become rarer, and will gradually drop out altogether.

Graduallyy guagesy common of its own add

as people to them,
y

modify erase

these from

published themy a pool will placesy

y

lanof unique evolve

languages accord.

unique yet

to different shared

to individualsy

and

broadly

First, the good patterns will persist; the bad ones will drop out. Second, since better patterns will persist, and mon. In each area, a common language will evolve. And third, a natural differentiation will occur, in which each town, each region, each culture, adopts a different set of patternsso that the great stock of pattern languages across the earth will gradually get differentiated. worse ones will drop out, the languages will become more com-

Of coursey

this evolution

will

never

end.

A l t h o u g h the process of evolution will always move towards greater depth and greater wholeness, there is no end to i t t h e r e is no static perfect language, which, once defined, will stay defined forever. N o l a n g u a g e is ever finished. T h e reason is this. E a c h language specifies a certain structure for some environment. O n c e realized, in prac-

346

EVOLUTION

OF A C O M M O N

LANGUAGE

tice, the very existence of that structure will create new forces, which are born for the first time, out of that s t r u c t u r e a n d these new forces will, of course, create new problems, new conflicts, that need to be resolved by new patternswhich, when added to our languages, will create still newer forces once again. T h i s is the eternal cycle of development. T h e r e is no hope of stilling it, and no need either. W e must simply accept the fact that in the process of evolution, there is no final equilibrium. T h e r e approach equilibriumbut are passing phases which for of that is all. T h e search

equilibrium, the brush in the dark with a moment

stability, the w a v e which hesitates a moment before it crashes into the sea a g a i n t h a t is the closest constancy will ever come to being satisfied.

Yet,

changing

as it is, each

language life.

is a living

pic-

ture of a culture,

and a way of

T h e patterns it contains, widely shared, reflect a common understanding about attitudes to life, about the ways that people w a n t to live, the w a y they w a n t to rear their children, the w a y they w a n t to eat their meals, the w a y they w a n t to live in families, the w a y they w a n t to move from place to place, the w a y they w o r k , the w a y they make their buildings look towards the light, their feelings about water, above all, their attitudes towards themselves.

It is a tapestry ships among the

of life,

which

shows, the

in the various

relationparts of

patterns,

how

347

THE life can fit togethery in space.

GATE they can make sensey

and how

concretely

A n d , above all, it is not just a passive picture. It has power in it. It is a language, active, p o w e r f u l , which has the power to let men transform themselves, and their surroundings. Imagine press itself that one day millions of people are then, as extraordinary, that these using poems pattern languages, and making them again. W o n ' t it imwhich they exchange, this giant tapestry of images, which they create, is coming alive before their eyes. W i l l it be possible then, for people to say stonily, that poems are not real, and that patterns are nothing but images: w h e n , in fact, the world of images controls the world of matter.

In

early

times

the

city the

itself form heavens

was

intended the life. more. It

as of earthy

an the a

image picture

of the universeits between pattern of a whole

a guarantee and

connection A living each person powerful And language

and coherent language

way of is even world

shows so it to living

his connection

to the

in terms by using him. seey the

that he can re-affirm in this sensey finallyy is a gate.

it daily

create new life in all the places round

about

as we shall

348

THE

WAY

Once we have built the gate, we can pass through it to the practice of the timeless way.

CHAPTER

I 8 LANGUAGE
how

T H E G E N E T I C P O W E R OF

Now we shall begin to see in detail grow from language the fower thousands of creative

the rich and com-plex order of a town can acts. have buildFor once we have a common pattern

in our towny we shall all to make our streets and our most

ings livey through acts. The languagey genetic system

ordinary millions a whole.

like a seedy is the gives our to form

which

of small acts the fower

Assumey tern neighbor world. What language destruction

to start withy has been hoody

that some adopted

version

of the or a of

fatfamily their

language

in a towny

or in a

or by a group

of people

who adopt it as the basis for the reconstruction is the relation which gives between process this common

pattern and

and the constant

of construction shape?

the town its

Recognize, first of all, that each person in the t o w n has the capacity to shape his o w n surroundings. A farmer in a traditional culture "knew" how to make a beautiful house for himself. W e e n v y him, and think that only he was able to do this because his culture made it possible. B u t this power the primitive farmer had lay in his pattern language. A n d if the people of the town n o w have a pattern language which is whole, they have the same power, exactly. W h a t e v e r act of building or repair is c o n t e m p l a t e d building a bench, a flower bed, a room, a terrace, a small cottage, a whole house, a group of houses, a remaking of the street, a shop, a cafe trellis, a complex of public buildings, even the replanning of a n e i g h b o r h o o d t h e y have the power to do it for themselves.

person

with

a pattern

language

can

design

any

part of the

environment.

He does not need to be an " e x p e r t . " T h e expertise is in the language. He can equally well contribute to the

353

THE

WAY

planning of a city, design his o w n house, or remodel a single room, because in each case he knows the relevant patterns, knows h o w to combine them, and knows how the particular piece he is w o r k i n g on fits into the larger whole.

And

it is essential for

that

the

people

do

shape

their

surroundings

themselves.

A town is a living thing. Its patterns are both patterns of action and patterns of space. A n d in the process of making itself, it is the patterns of activity and space, not space alone, which are continuously built, and destroyed, and rebuilt. F o r this reason, it is essential, once again, that people do it for themselves. If the t o w n ' s patterns lay merely in its bricks and mortar, you might argue that these bricks and mortar could be shaped by anyone. B u t since the patterns are patterns of action, and the action will not happen unless the patterns are felt, and created, and maintained by the people whose action goes into the patterns, there is no w a y the living t o w n can be built by professionals, for other people to live in. The living t o w n can only be created by a process in which patterns are created and maintained by the people w h o are a part of them.

This living

means,

theny

that

the

growth a myriad

and rebirth of smaller

of a acts.

town is built

up from

354

THE

GENETIC

POWER

OF

LANGUAGE

In a town where the common language has vanished, the acts of construction and design are in f e w hands, and are large and clumsy. But once each person in the t o w n can shape a building for himself, or a part of the street, or help to shape a public building, or add a garden or a terrace to a corner of a b u i l d i n g t h e n , at this stage, the g r o w t h and rebirth of the town is the concrescence of a million acts.

It

is a flux of millions

upon

millions

of these who

tiny knows

actsy each one in the hands

of the person

it best} best able to adapt it to the local

circumstances.

W i t h i n this flux, the people of the t o w n are constantly building, and rebuilding, tearing down, maintaining, modifying, changing, and building again. A room, a building, or a neighborhood is not made by a single act of building, in a single day. It is the temporary end-result of a thousand different acts, extended time, and done by unrelated people. over

But what guarantee individual

is there

that this fluxy with chaos?

all

its

actsy will not create a

H o w does the pattern language, which exists behind this flux, steer it, and enter into it?

It hinges of creation

on the close relationship and the process of

between repair.

the

process

355

THE

WAY

W h e n an organism g r o w s from a seed, the process of its g r o w t h is guided by the genetic materials. E a c h cell contains the D N A , and every cell is able to take on its part within the whole, by following the g r o w t h process which the genetic stuff defines. S o m e h o w , because each cell contains the same material, the cells together, g r o w i n g independently, create a whole which is complete. And once the organism is g r o w n the same genetic now process guides the process of repair. If I cut myself, thesame genetic process which originally created me takes charge of the smaller process of healing the cut, and guarantees that all the cells around the cut cooperate to form a whole again. In fact, there is no difference between the w a y the genes control the process of genetic g r o w t h which forms the embryo, and the process of repair which heals the cut. T h e genes operate continuously, every day, and moment. every

An

organism,

which

seems

at first sight of

like

static

thing,

is in fact a constant

flux

processes.

Cells are born, and die, unceasingly. T h e organism which exists today which is made of different materials the flux. from Yet the even organism of yesterday. It preserves those broad invariants, define its character, within these are changing slowly, over time. So, w h a t there is, in fact, is a perpetual flux of g r o w t h and decay, in which the " o r g a n i s m " is not so much an object, but the character of the invariants behind the flux, which is reborn and reshaped every day. 356

THE

GENETIC

POWER

OF

LANGUAGE flux of processes.

A town or building

also is a constant

If we visit L o n d o n or N e w Y o r k today, it is a different thing from w h a t it was five years ago. A s in an organism there is a process going on which shapes new modifies the fabric. B u t again, just as in an organism, there is also something which remains the s a m e t h e r e is an invariant continuity behind the flux, a character, a " t h i n g , " a "struct u r e , " which remains the same. And there the stays it is the pattern throughout of things, is this structure, flux whole. language the which, like the genes that in town buildings constantly, destroys the old, replaces and rebuilds and

distributed

cells, the

makes

certain or the

this invariant

permanency,

so that

building

W e k n o w , already, that the c o m m o n pattern language in a town or a community defines the fundamental situations, the archetypal moments, the components of w a y of life which people want to lead. W h a t w e shall now see is the w a y this pattern language, once it is whole, and widely spread, also maintains the slow pulsating g r o w t h and death of situations, buildings, moments, places, in the history of the t o w n . Imagine happening the constant process of creation which is the

in a town.

Roads being widened; roads closed; markets being built; new houses; old houses rebuilt; public buildings used for

357

THE

WAY people

offices; a park made on the corner of a block;

dancing and eating in the streets; street vendors catering to them; a seat is made from which to w a t c h the street; a girl sews cushions for her favorite corner; an orchard blooms; old people take their canvas chairs and sit out underneath the blossoms; a n e w hotel begins; a farmhouse gets torn d o w n ; a corner where a bus stop was becomes a place w h e r e people speak in public; the n e w hotel creates a need for taxis, and the taxi company builds a taxi rank. . . .

All helps

this

is guided is governed

by the

fact

that

every

act and

which their people portion to that

to shape

the buildings above

and the towny ally by just

activitiesy shareand of the especial

by the pattern is especially

language that relevant

governedy which

language act.

I n short, that flux in which the t o w n gives birth to n e w activities, maintains its old ones, modifies them, changes them, is guided by the common pattern language, just as the slow flux of a flower, while it is alive, is governed by the seed within it. H o w does the language do it?

Each town

concrete

building

problem the town

has a language. And each has its own

The small

as an entirety task within

has a language.

building

language.

T h e largest possible pattern language covers the t o w n . It contains, as sublanguages, languages for the different cul358

THE tures a n d particular

GENETIC

POWER

OF

LANGUAGE These contain the local for

subcultures in the sublanguages

town.

for particular

climates or

conditions, a n d these in t u r n c o n t a i n the l a n g u a g e s individual n e i g h b o r h o o d s . These contain the

languages individual

f o r d i f f e r e n t kinds of buildings, a n d

f o r the

b u i l d i n g w h i c h is to be built on a n y individual s i t e a n d these once again contain as s m a l l e r sublanguages the

l a n g u a g e s w h i c h d i f f e r e n t families, or individuals,

might

require f o r t h e m s e l v e s , to build their r o o m s , a n d g a r d e n s , a n d the various individual little c o r n e r s of the buildings. . . . greater

H e r e is a l a n g u a g e f o r a w i n d o w s e a t : ZEN VIEW WINDOW PLACE BUILT-IN SEAT FRAMES AS T H I C K E N E D EDGES DEEP REVEALS WINDOWS WHICH OPEN WIDE SMALL PANES FILTERED LIGHT H e r e is a l a n g u a g e f o r a h o u s e : THE FAMILY HALF-HIDDEN GARDEN TREE PLACES WINGS OF LIGHT MAIN E N T R A N C E INTIMACY GRADIENT COMMON AREAS A T THE HEART SLEEPING TO T H E EAST COURTYARDS WHICH LIVE INDOOR SUNLIGHT

359

THE FARMHOUSE

WAY

KITCHEN

SEQUENCE OF SITTING SPACES COUPLE'S R E A L M HOME WORKSHOP H e r e is a l a n g u a g e f o r r e p a i r i n g c o m m o n l a n d inside a neighborhood: A C T I V I T Y NODES N E T W O R K OF PATHS AND CARS GREEN STREETS MAIN G A T E W A Y S ACCESSIBLE GREEN SMALL P U B L I C SQUARE HIGH PLACES DANCING IN T H E STREET HOLY GROUND P U B L I C OUTDOOR ROOM STREET C A F E H e r e is a l a n g u a g e f o r d e t e r m i n i n g the b o u n d a r y of a city's g r o w t h : CITY C O U N T R Y FINGERS A G R I C U L T U R A L VALLEYS L A C E OF C O U N T R Y STREETS L O C A L TRANSPORT AREAS RING ROADS SACRED SITES

Every into

act

of

building,

brings

a handful

of

patterns

existence.

I n a t o w n w i t h a c o m m o n l a n g u a g e , this h a n d f u l is a l w a y s c h o s e n f r o m the s a m e f e w h u n d r e d p a t t e r n s w h i c h 360

THE

GENETIC

POWER

OF

LANGUAGE

define the t o w n s o , as different acts of building o c c u r even though they may be far apart, or physically unconnectedstill, gradually the same f e w hundred coherence as a fabric. patterns get created, over and over a g a i n a n d give the t o w n its

And

we see,

then,

how

each act of building, process

because for crewhich

its -pattern language the town, ates the contributes town.

is part of the larger to the larger

language

Just as each gene, or group of genes within a chromosome, guide the g r o w t h and repair of individual portions of the organism, so in a town each sublanguage of the common language also guarantees the complete and coherent emerging organization of the whole. A s in the organism, there is no sharp difference between the process of construction and the process of repair. E a c h process of construction helps repair some

larger whole, of which it is merely a part. N o thing is whole unto itself. A n d the larger pattern language which is shared, lies behind the flux of acts of building and repair, and makes sure that there is a structure, an invariant permanency in the flux of things, which makes the town stay whole.

But the process acts, great and makes

which them

integrates one,

the millions merely

of given

small by one

is not

the fact that all these language.

acts are guided

by parts of

351

THE

WAY

T h e common language has an integrative power which goes far beyond this simple coordination. T h i s happens, essentially, because each pattern is connected through the network of the language to every other pattern in the language. And this simple structural fact reflects the more important fact that every act of building can also go beyond its own limits, and help the other patterns in the t o w n to g r o w .

Each because

pattern

language to

in the emerge.

larger

language, help

can, all

it is connected

to the entire

language,

the other patterns

R e m e m b e r how each pattern in a language is linked to the patterns above it and below it. So, for example, the pattern of PRIVATE TERRACE the larger ON THE STREET helps to complete patterns of the streetGREEN COMMON

STREETS, HIERARCHY

OF OPEN SPACE, and

LAND. A n d it, in turn, is then completed by the smaller patterns which lie below it in the l a n g u a g e : OUTDOOR ROOM, HALF-OPEN WALL, SOFT TILE AND BRICK. W h e n we use a common -language to build a pattern into our world, we automatically build these larger and these smaller patterns too. A s w e build a PRIVATE TERRACE on the street, within the f r a m e w o r k of a common language, we also try to take care to place it in a w a y which helps to form the HIERARCHY OF OPEN SPACE out on the street, which helps to form a GREEN STREET; and we also complete it with the shelter of an OUTDOOR ROOMperhaps a trellis, or a r o w of columns to enclose

362

THE

GENETIC

POWER

OF

LANGUAGE

it; with a HALF-OPEN WALL which helps to make the half connection to the street; and tiles or bricks or wooden surfaces, which gradually w e a r , and show the marks of use, and let small plants g r o w in between.

Each guagey fashion

language fulls

tugs

at the

fabric

of the fatternsy

larger and in

lanthis

with it other

larger

then helfs

to re fair the larger

whole.

T h u s , within the larger language, it is impossible for any act not to help to repair the larger whole. I t is impossible for any act of building to remain an isolated act: it always becomes a portion of the flux of acts which is helping to maintain the whole. T h e neighborhood group w h o take steps to improve their common land and streets will also help to generate the larger patterns for the traffic and the density and shopping areas in the larger town. A man w h o builds a house, and has a language for a house, will also help to build the larger street outside his house, generate the patterns which form the street outside his house. A child w h o helps to shape his room will also help to generate the larger patterns for the stairway and common space outside his room. E v e n the laying of a brick, to mend a wall, will not only be used to mend that wall, but will be used to help repair the seat, the terrace, or the fireplace which that wall helps to form. the

363

THE And the pattern language

WAY is the instrument itself by means itselfy

of which maintains alive.

the flux which its structurey

is the town perpetuates and keeps

continuously

It guides the acts of all the individuals there in such a way that every act of building, and each smaller act which seems more modest too, is guided by the patterns in the language which are necessary to it, and gradually generates these patterns, day by day, continuously, so that this place is kept alive, continuously, by the gradual process of creation and destruction. It is not the end product of this process which is alive, but the incessant flux itself. T h e r e is no product of this process: the buildings and the town, which live, are that incessant flux, which, guided by its language, constantly creates itself.

We

see then process

the

enormous has.

power

which by the

common continuous cells In

pattern The creation cooperate a society to form And from

language of wholes to form institutions in a town

of life from

is marked parts. actions

In an organismy as a whole. . . . is a source the acts. of the people wholes.

organs

and the body

the individual

cooperate of

and larger a pattern it helps

language

lifey above

ally because

to generate

wholesy

the cooperation

of the individual

364

CHAPTER

19

DIFFERENTIATING
Within this frocessy every

SPACE
individual sface farts but a evolution frebirth frocess

act of building of additiony are combined frocess

is a fro cess in which It is not a

gets differentiated.

in which fre-formed to create a whole: like the

of unfoldingy

of an embryOy in which the whole cedes its fartsy and actually to themy by sflit ting. gives

Consider the larger

now a single seen, language, and governs

act of there which

building. language, to this work. order. part of is specific act of

As we have building,

is some

it to give it

But how, exactly,

does this language

I n chapters 21 and 22 w e shall go through some specific examples, which show exactly how the process works to help a person lay out the plan of a building. A n d then, in chapter 23 w e shall see how the building, once it is laid out, can then be built, in a w a y process of development. H o w e v e r , w e shall not understand these examples fully until w e first understand t w o general points about the w a y a pattern language works. In this chapter w e shall learn the importance of the order of the patterns in the language. In the next w e shall learn the importance of the intensity of each pattern in the sequence. which continues the

Start

by remembering

the

fundamental is alive.

truth

about

the parts of any system

which

E a c h part is slightly different, according to its position in the whole. E a c h branch of a tree has a slightly different shape, according to its position in the larger tree. E a c h leaf on the branch is given its detailed form by its position on the branch. And they must have this character, because, to be alive, they must be patterned properly: and this means that they must contain hundreds of different patterns,

367

DIFFERENTIATING

SPACE this

overlapped and interwoven at the same t i m e a n d of nature.

multiple patterning can only be contained in the geometry

Ask

yourself,

then,

what

kind

of process character.

can create

building

or a flace

that has this

W h a t kind of process will allow us to cram a hundred patterns together, in a limited space? O r , more c o n c r e t e l y r e m e m b e r i n g from our discussion in chapter 8 that a geometry which does contain hundreds of interacting patterns will always make every part u n i q u e w e may ask, again, w h a t kind of process can create a thing in which every part is slightly different.

Design a frocess

is often of

thought

of as a -process of together things,

synthesis, of

-putting

a process

combination. A c c o r d i n g to this view, a whole is created by putting together parts. T h e parts come first: and the form of the whole comes second.

But

it is impossible of nature

to form by adding

anything preformed

which

has

the

character

parts.

W h e n parts are modular and made before the w h o l e , by definition then, they are identical, and it is impossible for every part to be unique, according to its position in the whole.

368

DIFFERENTIATING

SPACE

E v e n more important, it simply is not possible for any combination of modular parts to contain the number of patterns which must be present simultaneously in a place which is alive.

It is only possible process in the in which whole.

to make

a place

which, is alive by its

by a

each part is modified

position

Imagine, for the sake of a r g u m e n t , that a certain FARMHOUSE KITCHEN consists, in essence, of a large kitchen table, with a stove and counters round it. A n d suppose, n o w , that in one corner there is to be an alcove. It is easy to see that this alcove may have to be a slightly unusual alcove; it may have to be part of the kitchen counter, or connect up with it in some w a y , and perhaps have a certain specific relation even with the kitchen table. A n d suppose, further, that this slightly unusual alcove is now to contain a WINDOW PLACE and a WINDOWSILL, a place to sit, a low sill. O f course, again, this w i n d o w place may have to take its character from the particular shape which the ALCOVE has; it may have less light, perhaps, because it is in the only corner not taken up by cooking things; it may have a higher ceiling than usual, because the kitchen needs more ventilation; it may have a tiled floor, or tiles on the wall, to counteract the steam and water in the kitchen. I n short, each part is given its specific form by its existence in the context of the larger whole.

369

THE This is a differentiating

WAY

process.

I t views design as a sequence of acts of complexification; structure is injected into the whole by operating on the whole and crinkling it, not by adding little parts to one another. I n the process of differentiation, the whole gives birth to its parts: the parts appear as folds in a cloth of three dimensional space which is gradually crinkled. T h e form of the whole, and the parts, come into being simultaneously.

The image of an

of the differentiating

process

is the

growth

embryo.

I t starts as a single cell. T h e cell g r o w s into a ball of cells. T h e n , through a series of differentiations, each building on the last, the structure becomes more and more complex, until a finished human being is formed. T h e first thing that happens is that this ball gets an inside, a middle layer, and an outside: the endoderm, mesoderm, and ectoderm, which will later turn into skeleton, flesh, and skin, respectively.

T h e n this ball of cells with three layers gets an axis. T h e axis is laid d o w n in the endoderm, and will become the spine of the finished person.

370

DIFFERENTIATING

SPACE

Then

this ball, w i t h a n axis, gets a head at one e n d .

L a t e r , the s e c o n d a r y structures, eyes, limbs, d e v e l o p in relation to the spinal axis a n d the h e a d .

A n d so on. A t e v e r y stage of d e v e l o p m e n t , n e w s t r u c ture is laid d o w n , on the basis of the s t r u c t u r e w h i c h has been laid d o w n so f a r . T h e process of d e v e l o p m e n t is, in essence, a sequence of operations, each one of w h i c h differentiates the s t r u c t u r e w h i c h has been laid d o w n by the p r e v i o u s operations.

371

THE The under unfolding of a design

WAY in the mind of its creator,

the influence

of language,

is just the

same.

A language allows you to generate an image of a building in your mind, by placing patterns in space, one pattern at a time. A t the beginning of a design process, you may have an idea that the open space should be " m o r e or less over here," and the building " m o r e or less over there." Neither the pattern for "open space" nor the pattern for "buildi n g " is very precisely defined at this stage. T h e y are like t w o clouds, whose size is imprecise, and with imprecise edges. It is not even perfectly certain, at this stage, that the cloud called "open space" will be entirely o p e n n o r that the cloud called building will be entirely roofed. W h a t is happening, is that you place these t w o clouds, roughly, at this stage of the design, with the full understanding that the design is accurate only to within the order of magnitude of the clouds themselves, and that all kinds of details which are smaller in scale, may be changed later. L a t e r in the process, you may be placing the " e n t r a n c e " to the building. A g a i n , the pattern which you call the entrance is a cloudy volume, about the right size, clear enough so that you can pin point its location, with respect to other larger clouds, and to show its relations to the things next to it, but no more exact than that. A n d , yet another stage in the design process, you may place a column. T h i s column has a height, and a rough s i z e b u t again, at the time you place it first, it has little more. L a t e r , you make the column more exact, by placing

372

DIFFERENTIATING

SPACE

the edges of the column, its reinforcing bars, its foundation, and so on. W h e n e v e r we w a n t to make one of these vague cloudy patterns more precise, w e do it by placing other smaller patterns, which define its edge and interior.

Each before.

pattern

is an operator distinctions

which where

differentiates no distinction

space: was

that isy it creates

T h e operator is concrete and specific, insofar as it will always generate an instance of the pattern. But the operator is quite general, because it specifies the operation in such a w a y that its performance interacts with the surroundings, to make a particular embodiment of the pattern which is unique. A n d in the language the operations are arranged in sequence: so that, as they are done, one after another, gradually a complete thing is born, general in the sense that it shared its patterns with other comparable things; specific in the sense that it is unique, according to its circumstances.

The which

language

is a sequence of the previous

of

these

operatorsy

in which

each one further

differentiates

the image

is the product

differentiations.

Since the patterns are arranged in order of their morphological importance, the use of the language guarantees that a whole is successively differentiated, so that smaller and

373

THE

WAY

smaller wholes appear in it, as a result of the distinctions which are d r a w n . W h e n a pattern language is properly used, it allows the person w h o uses it to make places which are a part of nature, because the successive acts of differentiation which the patterns define, are ordered in such a w a y that at each step new wholes are born, infinitely various because they are adapted to the larger wholes in which they sit, and with the parts between the wholes themselves whole, because the acts of differentiation make them so.

Here grew

is a simple

example

of a balcony process.

whose

shape

by a differentiating

M y house has a bay w i n d o w looking out into a group of pine trees. I decided to build a balcony out there, six feet above the ground, at the same level as the living room itself. Here is the sequence of decisions which gave birth to the design. TREE PLACES: I decided to use an old pine tree as the right-hand corner post of the extension. I t is a beautiful old tree, which, as the corner of the balcony, spreads its branches to form a natural umbrella. 6

374

DIFFERENTIATING

SPACE

SUNNY P L A C E : I put the l e f t - h a n d post as far as it could be to the l e f t , so as to catch a c o r n e r of sunshine that repeatedly falls on that spot d u r i n g the d a y . STRUCTURE FOLLOWS SOCIAL SPACES: I decided to place t w o other posts, not o n e , so that there w o u l d be t w o c o r n e r spaces c r e a t e d , each a useful social space, w i t h a dia m e t e r of a b o u t 5 feet. O n e column would have split

the t h i n g , a n d m a d e n o spaces a n y w h e r e , since the c o r n e r s w o u l d be too l a r g e .

COLUMNS AT T H E CORNERS: I w a n t e d the c o r n e r s to be l a r g e e n o u g h to f u n c t i o n as social spaces, a n d l a r g e r t h a n the c e n t e r span. O n therefore since

the other h a n d ,

these c o l u m n s w o u l d d e f i n e the positions of i n t e r m e d i a t e b e a m s , I w a n t e d to m a k e the c e n t r a l span as l a r g e as it c o u l d b e a n d not w a s t e it by m a k i n g it too n a r r o w . a result of these deliberations, I' f i n a l l y settled on As

5J/2-

3"5/ / 2- I f the post had been equally spaced, at m o d u l a r i n t e r v a l s , the c o r n e r s w o u l d h a v e been too small to live. PERIMETER BEAM: The right-hand beam ran at an

a n g l e , so that it could r u n directly into the tree.

375

THE FLOOR SURFACE: T h e

WAY to

planks were cut, as needed,

fit the overall shape of the balcony.

Imagine

what

this balcony

would

have

been

like if I

had tried to make it up from

modular

components.

Say, for the sake of argument, that there were some kind of prefabricated, concrete building modules a v a i l a b l e e a c h one four feet wide. It would have been impossible to use the tree, because the modular piece has a prescribed w a y of connecting to a c o l u m n a n d there would, within the system, be no w a y to connect it to the tree because the tree slopes at an angle inconsistent with the modules. It would also have been impossible to run the beam into the tree, because it runs in at an angle. I t would have been necessary to make some a w k w a r d composition of squares, which would destroy the simple edge between the balcony and the bushes and trees below. T h e width of the balcony would have had to be either 1 2 or 16 feet. T h e second of these is too large. T h e first

37

DIFFERENTIATING

SPACE

does not make proper use of the site, and misses the patch of sunlight on the left. It would not have been possible to use the corners as effective places: the even spacing of the columns would have made it impossible to make the corners large enough to use. I n short, this b a l c o n y o r g a n i c as it iscould not have been built up from modular components. O n l y the process of differentiation, which guaranteed that each decision fit only the larger decisions which came before it, and could go unhampered by the details which were yet to come, allowed the balcony to become a natural living thing.

But of coursey

this frocess

only works

because order.

the

fat-

terns in the language

have a certain

Suppose, for instance, that I take a list of patterns for a house, in random order. I will not be able to build a coherent image from them, because the different operations will almost certainly contradict each other. T o understand this clearly, imagine that someone is reading you a collection of patterns for a house, one at a time. Y o u are trying to form a single coherent image of the house, as he goes along. A n d , suppose, for a m o m e n t , that he reads out the list of patterns in a random order. T h u s : OUTDOOR ROOM: T h e family room opens out onto a kind of outdoor room. ALCOVES: T h e r e are alcoves all around the edge of the family room.

377

THE

WAY

CAR HOUSE CONNECTION: T h e kitchen is near the entrance to the house. CHILDREN'S REALM: T h e children's bedrooms are near the kitchen. FARMHOUSE KITCHEN: T h e them. Y o u cannot read this list of statements one at a time, in this order, and create a coherent image of a house, as you read them. W h e n you come to the last statement, you will have to " g o b a c k . " B y the time you have read the first four statements, you have already placed the family room, garden, children's bedrooms, and kitchen in a certain relationship to one a n o t h e r a n d it would be pure coincidence if this arrangement happened to include the fifth p a t t e r n t h a t kitchen and family room open into each other. If the arrangement you are imagining at this moment has the kitchen and family room separated, you will have to change i t a n d to change it virtually means going back to the first statement again. family room and kitchen

are next to each other, with a half-open counter between

The them ually,

patterns image in allows

will

only

allow

me if the

to form order

single take grad-

coherent

in my mind, me to build at a time.

that I

an image

of a design

one pattern

A n d I shall only be able to do this if each pattern is always consistent with the total image which I have built from all the earlier patterns in the sequence. 378

DIFFERENTIATING This three requires simple that the sequence

SPACE patterns meets

of the

conditions.

F i r s t , if p a t t e r n A is a b o v e pattern B in the n e t w o r k of the l a n g u a g e , then I m u s t take A b e f o r e I take B . T h i s is the most f u n d a m e n t a l rule. F o r instance, if SITTING ROOM is above ALCOVE in the l a n g u a g e (so that a sitting r o o m contains a n a l c o v e as a p a r t ) t h e n , obviously, I c a n not build ALCOVES into, the i m a g e of m y SITTING ROOM, until I h a v e a l r e a d y g o t a r o u g h a n d ready i m a g e of the SITTING ROOM itself. Second, above A, I must take all and the CAR patterns as HOUSE immediately I can. If CONNECTION

as close

together

in sequence

CIRCULATION

REALMS

are both i m m e d i a t e l y a b o v e MAIN ENTRANCE, they both help to set the stage f o r the creation of the m a i n e n t r a n c e . They will only make a coherent framework for the e n t r a n c e , in m y m i n d , if they c o m e close t o g e t h e r , so that I can fuse t h e m . Third, low I m u s t take all the p a t t e r n s i m m e d i a t e l y A, as close t o g e t h e r in sequence beas I and

the p a t t e r n

c a n . T h u s , f o r instance, POSITIVE OUTDOOR SPACE WINGS OF LIGHT, w h i c h both c o m e i m m e d i a t e l y BUILDING COMPLEX, m u s t c o m e close t o g e t h e r . y o u put a house on a l o t y o u are simultaneously

under When

creating

the open spaces w h i c h f o r m the g a r d e n a n d s h a p i n g the building. Y o u c a n n o t help it. O n e d e f i n e s the o t h e r . T h e building d e f i n e s the open space a n d the open space d e f i n e s the building. So y o u m u s t use the t w o patterns as n e a r l y at the same time as possible.

379

THE We more have been able to show,

WAY experimentally} meets these image three is. that the

a sequence

of patterns coherent

condi-

tions, the more

a person*s

W h e n the sequence meets these conditions perfectly, anyo n e e v e n a so-called " l a y " p e r s o n w i l l spontaneously create a coherent image of a complete building in his mind, as he hears the patterns one by one. W h e n he has heard all the patterns, he will be able to describe the complete design clearly, will be able to " w a l k " another person through it, describe w h a t he sees from various angles, and so on . . . in short, his design is coherent and complete.

On the violates personys

other image

handy

the more

a sequence the more

of

patterns the

the three

conditionsy becomes.

incoherent

F o r instance, if t w o patterns, both above a given pattern in the language, are widely separated in the sequence, it is very likely that the relationship between these patterns will be confused in the e m e r g i n g design. O r , more extreme, if a small pattern comes before a large one in the sequence, and thus violates the first condition, it is very likely that all the patterns which lie in between the t w o in the sequence will be dropped out of the e m e r g i n g design, or even forgotten entirely.

And power

this is why to help

a pattern

language

has the

natural

us form

coherent

images.

F o r we can always use our language to produce a sequence

380

DIFFERENTIATING

SPACE

which is consistent with these three conditions. Suppose, for instance, that you w a n t to use a language to design a house. W e k n o w from chapter 16, that the language has the structure of a network, or cascade. Assume, for the sake of argument, that the language contains IOO patterns which are needed in the house. T o get these 100 patterns, in the proper order, you must simply begin a kind of trip, in which you move through the network of the language, taking one pattern at a time, moving roughly d o w n w a r d s , and back and forth at the same time, following the three conditions as closely as you can.

The meet

sequences these

which

we obtain

from

language> automatically.

will

three

conditions

almost

O f course, the particular sequence of patterns for any given project, will always be unique according to the details of the project. T h i s happens because, according to the context, the patterns have slightly different relations to one another . . . which will affect the sequence they have w h e n we try to meet the three conditions. T h u s , for example, in a house on a narrow city lot, the pattern SMALL PARKING LOT will exert a controlling influence on the d e s i g n a n d the pattern must therefore come early in the sequence. I n another house, w h e r e there is more land, this pattern can come later in the sequence (since cars can be put almost anywhere without disturbance), but other p a t t e r n s f o r instance TREE PLACESmust come earlier because they n o w exert a controlling influence on the design. B u t in every case, there is some sequence of patterns 381

THE

WAY

which is the most appropriate for that design; and you can get this sequence more or less directly from each pattern has, compared with all the others. your knowledge of the size of the morphological effect which

The erated

sequence

of the

patterns

for

a designas the key to

genthat

by the languageis

therefore

design. F o r once you find the proper sequence, the p o w e r to design coherent things follows from it almost automatically, and you will be able to make a beautiful and whole design, without any trouble. I f the sequence is correctly formed, you can create a beautiful whole, almost without trying, because it is in the nature of your mind to do so. B u t , if the sequence is not correctly f o r m e d i f the sequence is itself incoherent, is whole. or the patterns in it i n c o m p l e t e t h e n no amount of trying will allow you to create a design which

Conventional designed,

wisdom

says that step by

a building step.

cannot

be

in sequence,

B u t the fact is that you cannot understand the morphology of a building, or create a design which has that morphology, until you understand which features are dominant, and which ones s e c o n d a r y i t is fundamental to your ability as an artist that you establish this morphological order in y o u r mind. I n this sense, the actual creation of the sequence, by the artist, is one of the most crucial

382

DIFFERENTIATING aspects of the design task. Y o u

SPACE what

really u n d e r s t a n d

y o u are d o i n g f o r the first time at that m o m e n t w h e n the sequence of the patterns b e c o m e s clear to y o u . Sequences are bad w h e n they are the wrong sequences.

But the sequence which a language gives you works because it treats the building as a whole> at every step.
E a c h pattern is a field w h i c h spreads t h r o u g h o u t the w h o l e , a n d tinges it, distorts it, patterns it. W e can take patterns, step by step, one at a t i m e , because each p a t t e r n m o u l d s the w h o l e a n d each p a t t e r n c a n m o u l d the w h o l e w h i c h is the p r o d u c t of the previous p a t t e r n i n g s .

In nature} a thing is always born, and developedy as a whole.

A baby starts, f r o m the first d a y of its c o n c e p t i o n , as a

w h o l e , a n d is a w h o l e , as an e m b r y o , e v e r y d a y until it is b o r n . I t is n o t a sequence of a d d i n g parts t o g e t h e r , but a w h o l e , w h i c h e x p a n d s , crinkles, d i f f e r e n t i a t e s itself. A w a v e is shaped as a w h o l e . I t is part of the system of w a v e s , a n d is a part of a l e g i t i m a t e w e l l - f o r m e d l i v i n g w h o l e , as it starts, s w e l l s , crashes, a n d dies. A m o u n t a i n is shaped as a w h o l e : the crust of the earth heaves, the m o u n t a i n takes its f o r m ; a n d w h i l e it is g r o w i n g , e a c h r o c k , a n d particle of sand is also w h o l e : there is n o t h i n g u n f i n i s h e d in it, d u r i n g the thousands of y e a r s that b r i n g it to the state w e k n o w t o d a y .

383

THE

WAY

A building, too} can only come to life when it grows as a whole.

A s w e conceive the w h o l e , in our minds, it starts as a whole, and continues as a w h o l e , throughout our mental operations; and ends as a w h o l e . E a c h mental operation differentiates it, makes it more elaborate: but treats it as a w h o l e , and operates on the image w e have of it, as a whole. A t every level, certain broad patterns get laid d o w n : and the details are squeezed into position to c o n f o r m to the structure of these broader patterns. O f course, under these circumstances, the details are a l w a y s slightly d i f f e r ent, since they get distorted as they are squeezed into the l a r g e r structure already laid d o w n . I n a design of this type, one naturally senses that the global patterns are more important than the details, because they dominate the design. E a c h pattern is given the importance and control over the w h o l e which it deserves in the hierarchy of patterns.

And it followsy therefore} that when a pattern language is properly usedy it allows the person who uses it to make places which are a part of nature. The character of nature is not something added to a good design. It comes directly from the order of the language. When the order of the patterns in the language is correcty the differentiating process allows the design to unfold as smoothly as an opening flower. We are ready now to find out the details of this process of unfolding.

384

CHAPTER

20

O N E P A T T E R N AT A T I M E
The process of unfolding goes step by step} one pattern at a time. Each step brings just one pattern to life: and the intensity of the result depends on the intensity of each one of these individual steps.

Suppose now, that for a given act of building, you have a pattern language, and that the patterns in this language are arranged in proper sequence. To make the design, you take the patterns one by one, and use each one to differentiate the product of the previous patterns. But how exactly, does each pattern work.
A t a n y g i v e n m o m e n t in the u n f o l d i n g of a sequence of patterns, w e have a partly d e f i n e d w h o l e , w h i c h has the structure g i v e n to it by the patterns that c o m e earlier in the sequence. A n d w e are n o w f a c e d w i t h the problem of i n j e c t i n g the next pattern into this w h o l e , filling the w h o l e with which it, i n f u s i n g the w h o l e w i t h the structure of this pattern, m a k i n g just those differentiations in the w h o l e , of the w h o l e . H o w e x a c t l y does this w o r k ? will b r i n g this n e x t p a t t e r n to life, t h r o u g h o u t the fabric

Suppose,

WINDOW PLACE

for instance, that you want to create a which is alive.

places most

S t a r t by r e m e m b e r i n g all the particular w i n d o w y o u h a v e k n o w n : especially the ones w h i c h w e r e

beautiful. C l o s e y o u r eyes, a n d c o n c e n t r a t e on t h e m s o that y o u g e t a direct instinctive k n o w l e d g e of the p a t t e r n , rooted in y o u r o w n experience. A n d c o n c e n t r a t e , also, o n the particular aspects of the WINDOW P L A C E w h i c h m a k e it l i v e : the light, the seat,

39

ONE the windowsill,

PATTERN flowers

AT

TIME perhaps, the

growing

outside

quietness a n d separateness, w h i c h m a k e the w i n d o w place a "place."

Ask yourself how this pattern would look if it were already in the place where you are wanting it.
T o do this, y o u n e e d o n l y close y o u r eyes, a n d room or place which you are shaping has a imagine WINDOW

that y o u are c o m i n g t h r o u g h the d o o r . I m a g i n e that the PLACE in it. Y o u r k n o w l e d g e of the p a t t e r n , i n t e r a c t i n g w i t h y o u r k n o w l e d g e of the place, w i l l speak to y o u , a n d tell y o u just place. To keep the p a t t e r n strong, it is essential that you what form the pattern takes, in this particular

d o n ' t y e t p u t in a n y o t h e r details. Y o u

do n o t y e t need

to i m a g i n e the positions of the w i n d o w panes, in detail, because that w i l l be done by l a t e r patterns. Y o u do n o t n e e d to k n o w , y e t , w h a t e x a c t l y is the h e i g h t of w i n d o w sills, because the p a t t e r n LOW SILL does it f o r y o u , later. You do n o t n e e d to k n o w , y e t , j u s t e x a c t l y height is, there, because the pattern what the ceiling CEILING

HEIGHT VARIETY w i l l do it f o r y o u later. The o n l y t h i n g y o u m u s t h a v e c l e a r , at this stage, is

the w h o l e , the space of the WINDOW PLACE itself, h o w l a r g e it is, h o w the l i g h t c o m e s into it, h o w people sit, so that they are related to the l i g h t a n d to the inside of the r o o m , a n d , a b o v e all, j u s t h o w indeed d e f i n e a flace the w i n d o w place does w h i c h is i d e n t i f i e d , a n d l i g h t . T h e s e

391

THE

WAY

things you must k n o w , because these are the ones w h i c h this p a t t e r n specifically deals w i t h .

The most important thing is that you take the pattern seriously.
T h e r e is no point at all in using the pattern if y o u only give lip service to it. F o r e x a m p l e , I r e m e m b e r one case w h e r e a m a n w a s designing a beach house, w i t h t w o a p a r t m e n t s one o v e r the o t h e r a n d an o u t d o o r stair, l e a d i n g to the upstairs one. H e w a s telling m e h o w the patterns he w a s using entered into his d e s i g n : and he said that the stair l a n d i n g at the top of the stair w a s the ENTRANCE TRANSITION for the upstairs r o o m . I said to h i m : L o o k , this little l a n d i n g , w h i c h is m a y b e three feet by f o u r , is not an ENTRANCE TRANSITION at all. Y o u are c a l l i n g it that and t r y i n g to pretend to yourself that y o u h a v e created this pattern there. B u t it is just the top of the stair. A n ENTRANCE TRANSITION is a place w h e r e the light c h a n g e s , a place w h e r e the level c h a n g e s , w h e r e y o u are s u d d e n l y filled w i t h a sense of n e w fore you g o inside. experience, a c h a n g e , a w i p i n g c l e a n , that happens just be-

If you really want to make an ENTRANCE TRANSITION therey at the top of the stair, you must close your eyeSy and ask yourself: What would it be likey if this was the most wonderful entrance transition in the world?

392

ONE

PATTERN

AT

TIME

I m a g i n e . I close m y eyes. I see a place f r o m w h i c h there is a sudden v i e w , w h i c h y o u c a n ' t see f r o m the b o t t o m of the stair. I see a place w h i c h is filled w i t h the scent of j a s m i n e in the s u m m e r . I hear m y step as I reach this place up on t o p : it c h a n g e s , because, perhaps, there is a c r e a k i n g b o a r d . So n o w I begin to i m a g i n e a stair w h i c h is a l m o s t closed in, by w o o d e n f r e t w o r k , the top placed w i t h a n o p e n i n g w h i c h looks out on the s e a ; a trellis o v e r h e a d w i t h j a s m i n e c l i m b i n g o n it; a seat across f r o m the d o o r , w h e r e I c a n sit, to smell the b r e e z e ; the stair m a d e loosely, so that the boards c r e a k as I b e g i n to climb the stair . . . .

Now you have really done something.

N o w this e n t r a n c e transition is m o r e t h a n just a p h r a s e ; it is an a c t u a l l i v i n g t h i n g . B u t n o w , of course, it is a little s t r a n g e , perhaps. H o w do I h a v e to build the stair, to

keep it closed in f u r t h e r d o w n , w i t h f r e t w o r k to let light i n ; h o w m u s t I place the l a n d i n g at the top, so that it looks back at the sea? I t is no l o n g e r j u s t the " t o p of the stairs" s o m e w h e r e . I t is a place w h i c h I w i l l n o t f o r g e t , because it has a c h a r a c t e r . And this c h a r a c t e r is not

created w i l f u l l y , by m e i t has been g e n e r a t e d , by p a y i n g serious attention to the p a t t e r n .

simply,

Indeed y each fat tern, when you really do it} creates an almost startling character.
W h e n y o u insist, a n d g e n u i n e l y f o r m the p a t t e r n , a n d g o

393

THE

WAY

all the w a y w i t h it, it g e n e r a t e s a c h a r a c t e r : it looks alm o s t s t r a n g e ; slightly startling. I t is e x t r e m e ; y o u k n o w that s o m e o n e has been w o r k i n g here. I t is n o t bland, but full.

For instancey in the second picture of this chaptery the roof overhang of the S H E L T E R I N G ROOF is immense.
T h e r e is no lip service to the s h e l t e r i n g roof. T h e people w h o built this built it w i t h all the c o u r a g e a n d the c e r tainty full. that it w a s really needed. There are no half measures; no c o m p r o m i s e s ; this is a sheltering roof, in

In the third picturey the intense.

FILTERED LIGHT

is once again

T h i s picture is i m p o r t a n t , because it s h o w s that simplest hut, the people inside felt so strongly

taking about took

patterns seriously does n o t require m o n e y . H e r e , in the FILTERED LIGHT that they s t r u n g beans on strings, across the w i n d o w , in the m o s t e x t r a o r d i n a r y w a y . T h e y unique. I t is the same intensity y o u m a y tree which grows under f i n d in a rock or the p a t t e r n seriously, a n d it c r e a t e d , f o r t h e m , s o m e t h i n g

extraordinary

circumstances.

W h e n a tree g r o w s in a c o r n e r , w i n d f r o m one a n g l e , rocks beneath it, it m a y take on a w i l d c h a r a c t e r , intense, created by the interaction of the special circumstances, w i t h its genes. W h e n the patterns are g i v e n their f u l l in-

394

ONE

PATTERN

AT

TIME

tensity, and a l l o w e d to interact freely w i t h circumstances, w e get the same.

And in the first picture > we see L I G H T OF E V E R Y ROOM as intense as possible.

ON T W O SIDES

A l m o s t e v e r y o n e has some experience of a r o o m with l i g h t , sun streaming in, perhaps y e l l o w

filled

curtains,

w h i t e w o o d , patches of sunlight on the floor, w h i c h the cat searches f o r s o f t cushions w h e r e the light is, a g a r den full of flowers to l o o k out onto. I f y o u search y o u r o w n experience, y o u can certainly remember a place like t h i s s o beautiful it takes your breath a w a y to think of it. L o o k at the g r e a t r o o m f r o m the T o p k a p i P a l a c e in this first picture. It is almost as t h o u g h the r o o m itself is one g r e a t w i n d o w . Y o u c a n m a k e a r o o m like that, if y o u pay e n o u g h attention, are serious e n o u g h about the w i n d o w s , look to see w h e r e the light is, place the r o o m , n o t in some place w h e r e it just gets light on t w o sides, but in the best place, w h e r e it c a n g e t light f r o m all a r o u n d , a n d the best a n d most beautiful light there is on the site. T h e n it can happen.

You may not believe that you can make a -place as beautiful as that.
So, w h e n y o u c o m e to this pattern, LIGHT ON TWO SIDES OF EVERY ROOM, y o u c h e c k in a h a l f h e a r t e d , p e r f u n c t o r y m a n n e r , to see if e v e r y r o o m has t w o w a l l s to the outside,

395

THE

WAY

a n d that there are a couple of w i n d o w s , m o r e or less in the right place. B u t that produces n o t h i n g . I t is only w h e n you pay attention, in the full belief that e v e r y r o o m y o u m a k e can be as beautiful as the most beautiful light-filled room w h i c h you have e v e r s e e n t h e n y o u are serious e n o u g h . A t that m o m e n t it will happen. A l l it requires is the will.

To do it you need only let it happen in your mind.

Say to y o u r s e l f : I a m c o m i n g into that r o o m , I a m not in it y e t , but I c o m e in t h r o u g h the door, a n d there, to m y surprise, is the most beautiful r o o m that I h a v e e v e r been in. T h e pattern LIGHT ON TWO SIDES is there, as intense and beautiful as in a n y r o o m that I have . . . you say all this to y o u r s e l f , before you ever in k n o w n , as intense as in the picture of the T o p k a p i P a l a c e walk t h r o u g h the door. A n d then, w i t h y o u r eyes closed, in room,

y o u r i m a g i n a t i o n , y o u w a l k f r o m the n e x t door

t h r o w open the door, and step inside . . . and there it

And there it is. Suddenlyy without your making any conscious effort, your mind will show you how this light on two sides isy in that particular placey as beautiful as you have ever known it anywhere.
D o not consciously try to create the pattern. I f you do

this, the i m a g e s a n d ideas in y o u r m i n d w i l l distort it, will begin to take o v e r , and the pattern itself w i l l n e v e r

396

ONE make its w a y into

PATTERN

AT

TIME there will be a

the w o r l d : instead

"design." G e t rid of the ideas w h i c h c o m e into y o u r m i n d . rid of pictures you have seen in magazines, Get

friends'

houses . . . . The

Insist on the p a t t e r n , a n d n o t h i n g else. and the real situation, together, will

pattern,

create the p r o p e r f o r m , w i t h i n y o u r m i n d , w i t h o u t y o u r t r y i n g to do it, if y o u w i l l a l l o w it to happen. T h i s is the p o w e r of the l a n g u a g e , a n d the reason w h y the l a n g u a g e is c r e a t i v e .

Your mind is a medium within which the creative spark that jumps between the pattern and the world can happen. You yourself are only the medium for this creative spark} not its originator.
I r e m e m b e r o n c e , sitting in B e r k e l e y , t r y i n g to w o r k out a site plan on paper, f o r o u r houses in P e r u . O n e of the LOOPED LOCAL ROADS into the site w a s n o t y e t properly in place, a n d w e c o u l d n o t f i n d a suitable w a y of f i t t i n g this pattern road into the design, the w a y the patterns told us t o s o I decided to take a w a l k a r o u n d the site in m y imagination. I sat in m y chair, in B e r k e l e y , 8 0 0 0 miles f r o m the real site in L i m a , closed m y eyes, a n d b e g a n to take a w a l k around the market. There were many narrow lanes, tiny

c o v e r e d w i t h b a m b o o screens to shade t h e m , w i t h

stalls o p e n i n g o f f t h e m , a n d fruit sellers selling f r u i t f r o m carts. I stopped by one old w o m a n ' s cart, a n d b o u g h t an orange from her. A s I stood there I happened to be

397

THE facing north. A n d

WAY my And,

then I bit into the o r a n g e i n where is that r o a d ? "

imagination. A n d just as I bit into it, I suddenly stopped and asked myself, " N o w , without thinking, I k n e w exactly w h e r e it was, and w h a t its relation to the m a r k e t w a s I k n e w it must be over therey towards the right, f r o m the direction I w a s facing. I k n e w that to be n a t u r a l ; it must come sweeping towards the m a r k e t , and touch it over there. T h e n I stopped, and came back to m y r o o m , and m y chair, and m y e f f o r t to make the design. I realized at once that this position of the road, w h i c h had come to me so naturally, w a s quite different f r o m all the ones w e had been trying on paper in those last f e w d a y s a n d that it w a s exactly right, and satisfied the demands of all the patterns perfectly. I t w a s the vividness of being there, and biting into that orange, that allowed me to k n o w , spontaneously, the most natural place for that road to be.

You may find this way of letting themselvesy unusual.

To

patterns

form

do it, you must let g o of y o u r control and let the having

pattern do the w o r k . Y o u cannot do this, n o r m a l l y , because you are trying to make decisions w i t h o u t confidence in the basis for them. B u t if the patterns you are using are familiar to you, if they make sense to you, if you are confident that they make sense, and that they are p r o f o u n d , then there is no reason to be afraid, and no reason to be afraid of giving up your control over the

398

ONE

PATTERN

AT

TIME to

design. I f the p a t t e r n m a k e s sense, y o u do n o t need c o n t r o l the design.

You may be afraid that the design won't work if you take fust one pattern at a time.
If you take one p a t t e r n at a time, what guarantee is

there that all the p a t t e r n s will fit t o g e t h e r

coherently: 5

W h a t happens if y o u put the p a t t e r n s t o g e t h e r , one at a time, a n d t h e n , s u d d e n l y , w i t h the ninth or tenth, y o u f i n d that it is quite impossible, because there is a conflict b e t w e e n the design w h i c h has e m e r g e d so f a r , a n d n e x t p a t t e r n in the s e q u e n c e ? The greatest fear we experience in the process of the

design is that e v e r y t h i n g w i l l not w o r k out. A n d y e t the building w i l l b e c o m e alive o n l y w h e n y o u c a n let g o of tli is f e a r . Suppose, f o r instance, y o u are t r y i n g to decide where I to place the e n t r a n c e to y o u r house. A s you are d o i n g it, i m a g e s of o t h e r p r o b l e m s flit t h r o u g h y o u r m i n d . W i l l be able to fit the d i n i n g r o o m in if I put the I w o n ' t have r o o m to put the bed a l c o v e s in that all these p r o b l e m s w i l l w o r k the time c o m e s ? entrance properly; when

here? B u t on the other h a n d , if I put it o v e r there, m a y b e . . . w h a t shall I do? H o w can I place the e n t r a n c e so t h e m s e l v e s out

But you cannot create a pattern at full intensityy so long as you are worrying and thinking about other patterns} which you will have to deal with later in the sequence.

399

THE

WAY

T h i s f r e n z y will a l w a y s kill the pattern. I t w i l l force y o u to create artificial, " t h o u g h t o u t " c o n f i g u r a t i o n s , are stiff a n d lifeless. T h i s is the t h i n g w h i c h tensity. Suppose, for e x a m p l e , that w e are t r y i n g to build a house w h i c h has f i f t y patterns in it. I t seems almost inconceivable that these f i f t y patterns w i l l n o t somehow out c o n f l i c t : and it seems essential, t h e r e f o r e , to w o r k which prevents

people, most o f t e n , f r o m c r e a t i n g a pattern at full in-

some overall scheme in w h i c h e n o u g h c o m p r o m i s e s are m a d e to a l l o w each of the patterns to be present to some extent.

This frame of mind destroys the patterns.

I t destroys all possibility of life, because as soon as y o u begin to compromise the patterns there is no life l e f t in them. B u t there is no need f o r this f r a m e of m i n d . I t is not necessary to m a k e compromises b e t w e e n the patterns. W h e n y o u start to think about compromises patterns, y o u are not t a k i n g a c c o u n t of of transformation. the The e v e r y pattern is a rule between fact that fact that

e v e r y pattern is a rule of t r a n s f o r m a t i o n m e a n s that each pattern has the p o w e r to t r a n s f o r m a n y c o n f i g u r a t i o n by i n j e c t i n g a n e w c o n f i g u r a t i o n into it, w i t h o u t essentially disturbing a n y essentials of the c o n f i g u r a t i o n w h i c h there b e f o r e . was

Suppose that I want to create a

MAIN ENTRANCE.

400

ONE

PATTERN

AT

TIME means

T h e c h a r a c t e r of the MAIN E N T R A N C E as a rule

that I c a n take a n y c o n f i g u r a t i o n , w h i c h lacks this patt e r n i t m a y be a real building w h i c h exists a l r e a d y , or a partly t h o u g h t out building in m y m i n d a n d apply this p a t t e r n to i t t h a t is, i n j e c t a MAIN ENTRANCE into it, in the m o s t beautiful a n d e x t r e m e form possiblewithout disturbing the essentials of w h a t I have a l r e a d y .

There is no reason to be timid.

I f I a m g o i n g to create a beautiful MAIN ENTRANCE,

there is n o point in w o r r y i n g about w h e t h e r I w i l l later be able to create a beautiful ENTRANCE TRANSITION

there. A t this time w h e n I i n j e c t MAIN ENTRANCE into the design, I n e e d think only about the MAIN ENTRANCE the certain

p a t t e r n , in all its fullness and e x t r e m i t y i n knowledge that w h e n I c o m e , l a t e r , to the

ENTRANCE

TRANSITION p a t t e r n , I w i l l once a g a i n be able to i n j e c t that p a t t e r n , in all its fullness a n d e x t r e m i t y also.

The order of the language will make sure that it is possible.

F o r as w e h a v e seen in C h a p t e r 1 9 , the o r d e r of the

l a n g u a g e is the o r d e r w h i c h the p a t t e r n s need to operate on one a n o t h e r to c r e a t e a w h o l e . I t is a m o r p h o l o g i c a l o r d e r , similar to the o r d e r w h i c h m u s t be present in an evolving embryo. A n d it is this v e r y s a m e o r d e r w h i c h also a l l o w s each

401

THE

WAY

pattern to develop its full intensity. W h e n w e have the order of the l a n g u a g e right, w e can pay attention to one pattern at a time, w i t h full intensity, because the interference between patterns, and the conflicts b e t w e e n patterns, are reduced to almost n o t h i n g by the order of the language.

Within the sequence which the language defines, you can focus on each pattern by itselfy one at a timey certain that those patterns which come later in the sequence will fit into the design which has evolved so far. You can pay full attention to each pattern; you can let it have its full intensity. Then you can give each pattern just that strange intensity which makes the pattern live.

402

CHAPTER 2 1 SHAPING ONE BUILDING

From a sequence of these individual fatterns, whole buildings with the character of nature will form themselves within your thoughts, as easily as sentences.

We are ready} now> to see just how a sequence of patterns can create a building in our minds. It happens with surprising ease. The building almost "makes itself " just as a sentence seems to when we speak. And it can happen as easily within an ordinary person's mindy or in a builder's mind. Kveryone} builder or not> can do this for himself} to make a building live . . . .
A s s u m e , to start w i t h , that w e have a l a n g u a g e house. L o o k at the patterns in the order they come in, one at a time. A d d nothing, except just w h a t the patterns d e m a n d . S l o w l y , you will find that an image g r o w i n g in y o u r mind. of a house is for a

Here are the rough notes I wrote down during the week it took to design a small cottage in this way.
I decided to build a small c o t t a g e / w o r k s h o p at the back of our office. A place large e n o u g h to live in; a place w h e r e guests might stay; and a place w h e r e someone we could live and w o r k , as a w o r k s h o p ; us. T h e r e is a large house in f r o n t ; another cottage beh i n d ; an old g a r a g e ; outside stairs leading to the upstairs of the large house. I decided that it w o u l d not be practical and a place

could rent to a friend, w h e n it w a s n ' t occupied by one of

407

THE

WAY

to s p e n d m o r e t h a n a b o u t $ 3 0 0 0 f o r m a t e r i a l s . A t $8 per s q u a r e f o o t f o r m a t e r i a l s ( I k n e w t h a t w e w o u l d build it o u r s e l v e s so l a b o r w a s to be f r e e ) , w e c o u l d build a c o t t a g e of 4 0 0 s q u a r e f e e t . H e r e is the l a n g u a g e I chose f o r the b u i l d i n g : WORK C O M M U N I T Y THE FAMILY BUILDING C O M P L E X CIRCULATION REALMS

N U M B E R OF STORIES HOUSE FOR ONE PERSON SOUTH F A C I N G OUTDOORS WINGS OF L I G H T C O N N E C T E D BUILDINGS POSITIVE OUTDOOR SPACE SITE REPAIR MAIN ENTRANCE E N T R A N C E TRANSITION CASCADE OF ROOFS ROOF GARDEN SHELTERING ROOF ARCADE I N T I M A C Y GRADIENT E N T R A N C E ROOM STAIRCASE AS A STAGE ZEN VIEW T A P E S T R Y OF L I G H T AND DARK FARMHOUSE KITCHEN

B A T H I N G ROOM HOME WORKSHOP

408

SHAPING

ONE

BUILDING

LIGHT ON TWO SIDES OF EVERY ROOM BUILDING EDGE SUNNY PLACE OUTDOOR ROOM CONNECTION TO T H E EARTH TREE PLACES ALCOVES WINDOW PLACE T H E FIRE BED ALCOVE T H I C K WALLS OPEN SHELVES CEILING HEIGHT VARIETY

The first thing was repair.

T h e existing c o t t a g e is d i s c o n n e c t e d . T h e g a r a g e is a bit d e r e l i c t ; the trees a n d grass at the v e r y back n e e d p r u n i n g a n d are v e r y o v e r g r o w n . A b o v e all, the people w h o live upstairs in the m a i n house, and at the b a c k , h a v e n o o v e r all sense of c o n n e c t i o n to one a n o t h e r . A l s o the most

b e a u t i f u l part of the g a r d e n w h i c h

faces south, a n d is

u n d e r the locust tree, is u n u s e d , because there is n o t h i n g n e a r it or a r o u n d it, a n d n o paths w h i c h n a t u r a l l y g o to a n d f r o to m a k e it n a t u r a l l y usable.

To solve all these problemsy I triedy -first of ally to make a building which created SOUTH FACING OUTDOORS and POSITIVE OUTDOOR SPACE.

409

THE

WAY

F o r SOUTH FACING OUTDOORS, I i m a g i n e a nice big t e r race, out t o w a r d s the back of the m a i n house, in the sun. I f w e put it to the south and w e s t of the c o t t a g e , it w i l l be in the other o p e n i n g in the trees, and g e t plenty of s u n : a g o o d place to w o r k , m a k e t h i n g s ; perhaps w e can put a w o r k b e n c h out there in g o o d w e a t h e r ; and a place for a couple of chairs and a table, w h e r e w e can sit and have a drink. W e need to spend a day on the site, w a t c h ing the sun, to identify the e x a c t places w h e r e sun falls (SUNNY PLACE) ; it is tricky, because the sun comes we t h r o u g h the trees, only in a f e w special places, and m u s t be v e r y accurate about p l a c i n g t h e m . A l l this puts the cottage as far to the n o r t h as possible. To form POSITIVE OUTDOOR SPACE, I also place the building w e l l back into the site, so that it leaves a w e l l f o r m e d space b e t w e e n the g a r a g e a n d the trees in f r o n t . In that position, there is space for a cottage, running n o r t h - s o u t h , up to about 13 feet w i d e , and up to about 2 5 feet l o n g . A s f a r as connections w i t h the existing cottage are c o n c e r n e d (BUILDING COMPLEX, CONNECTED which BUILDINGS), there is no b a t h r o o m in the existing c o t t a g e , so it w i l l be a g r e a t help if w e build a b a t h r o o m right b e t w e e n the t w o buildings. the t w o cottages share. T h e r e is a n a t u r a l place for that,

Next NUMBER OF STORIES, CASCADE OF ROOFS, SHELTERING ROOF, ROOF GARDEN give me the overall shape of the building.
M o s t l y it w i l l be a one-story b u i l d i n g ; but w e w a n t to try the t w o - s t o r y s t r u c t u r e , and it w o u l d be nice to have 410

SHAPING

ONE

BUILDING

a sleeping l o f t upstairs. T h i s t w o - s t o r y part of the thing should n a t u r a l l y be to the n o r t h e n d , so that it f o r m s a ROOF GARDEN to the south. G i v e n its position, it m a k e s sense to think of this sleeping l o f t as about 8 x 1 3 , the c o t t a g e . T h i s goes some way opening the out to a flat roof to the south, o v e r the o n e - s t o r y part of towards creating CASCADE OF ROOFS. SO that our n e i g h b o r to the sense to i m a g i n e l o w e r , alcove north. A n d roofs f a l l i n g o f f to the south north to the

doesn't h a v e a high w a l l r i g h t n e x t to his g a r d e n , it m a k e s the same s o m e w h e r e perhaps, lower of the

a n d the same a g a i n w h e r e the e n t r a n c e is, there m i g h t be an e n t r a n c e p o r c h . T h i s w i l l m a k e a n u m b e r of roofs, l o w enough to touch, around the edge

building (SHELTERING ROOF and CASCADE OF ROOFS).

Within

WORK C O M M U N I T Y

this overall shape, CIRCULATION REALMS and tell me how to complete the site.
connection

CIRCULATION REALMS is not O ;ood;' a n d the good enough. T h e

w i t h the m a i n house n e e d e d by WORK C O M M U N I T Y isn't m a i n trouble is this. T h e r e are two

paths to the b a c k : one up the d r i v e w a y ; the other t h r o u g h d a r k bushes. T h e one up the d r i v e w a y is O K , but n o t a direct c o n n e c t i o n ; a n d the main house's back porch goes o u t s i d e w a y s to it; n o t direct. T o m a k e the c o n n e c t i o n

c l e a r , a n d the c i r c u l a t i o n , w e w i l l open up the back of the back p o r c h , so it c o n n e c t s directly to the t e r r a c e of the c o t t a g e . I t w i l l o n l y be a f e w feet, then, f r o m the back porch, to the else coffee, we put umbrella, on the chairs, workbenchor it w i l l be

whatever

terraceand

n a t u r a l to g o back a n d f o r w a r d all the time. W e can lay 411

THE

WAY

tiles into the earth, to m a k e the c o n n e c t i o n ; also, l o o k i n g at the bushes u n d e r there, w h i c h are so d a r k w e need to prune t h e m , cut out dead w o o d , to bring m o r e light in a l o n g that path. W e m i g h t e v e n p r u n e out e n o u g h dead wood so grass could grow there, with the trees just standing in the grass.

SITE R E P A I R

tells me exactly what to protect around

the building.
T h e tree to the north is d o w n , as our n e i g h b o r w a n t e d ; in e x c h a n g e w e w i l l , I hope, be able to build up to his fencesince he can g e t sunlight all the w a y onto his l a w n n o w . I t is a shame c u t t i n g d o w n a t r e e : but the trees at the back g r e w too t h i c k ; one less and the others will grow stronger; and, most important, it helps to him repair his g a r d e n to the north of ours, by g i v i n g

SOUTH FACING OUTDOORS too. I n c l e a r i n g the site, the little apple tree n e x t to the g a r a g e seems m o r e onions, protect with them their while beautiful white we than ever; and the wild the very flowers, growing get around

f o o t of it are l o v e l y . W e have put stakes a r o u n d t h e m , to build: they trampled easily (SITE R E P A I R ) . C o m b i n i n g SITE REPAIR and ROOF GARDEN, I i m a g i n e the roof g a r d e n about eight or nine feet up, beautifully f r a m e d and s u r r o u n d e d by the l o w e r b r a n c h e s of the the trees to the east and w e s t : on the site I stake out right into the trees.

r o u g h position of this roof g a r d e n , so that it will fit just

412

SHAPING

ONE

BUILDING

Now I begin more carefully to work with my eyes closed} to imagine how the patterns will bey in their besty most naturaly most simple formy as the building comes to life. M A I N E N T R A N C E gives me the approach to the buildingy and the position of the entrances.
T h e r e are t w o w a y s to a p p r o a c h the c o t t a g e e i t h e r f r o m o u r back porch of the m a i n house, or up the t w o approaches w o r k ? driveway. W h e r e is the e n t r a n c e a n d w h a t is it like, to m a k e these I n both cases I c o m e across the originally t e r r a c e in f r o n t , to r e a c h the e n t r a n c e . I had

t h o u g h t of an e n t r a n c e w i t h a p o r c h or a r c a d e : but it seems too d a r k in t h e r e . A s I close m y eyes, I see a f r o n t d o o r , s t a n d i n g f o r w a r d a little f r o m the m a i n r o o m the c o t t a g e , j u s t behind the bramble bush, a n d n e x t of to

the acacia w h i c h is still s t a n d i n g . I i m a g i n e a small seat on either side of it: a n a t u r a l place to sit in the s u n : and the e n t r a n c e f r a m e e l a b o r a t e d , perhaps c a r v e d or painted, n o t m u c h , j u s t slightly, perhaps b u l g i n g f o r w a r d . the existing c o t t a g e , t o w a r d s the north, and I Since assume I k n o w that the b a t h r o o m w i l l be to the b a c k , n e x t to there w i l l be a short a r c a d e c o n n e c t i n g the t w o buildings, a n d g i v i n g access to this b a t h r o o m , I a m n o t certain of the relation b e t w e e n the m a i n e n t r a n c e a n d this a r c a d e behind it. A l s o I a m n o t certain if the e n t r a n c e is at a slight a n g l e , to face the d r i v e w a y m o r e , or if it faces due w e s t . B e f o r e I t h o u g h t it o u g h t to be w e s t , but c l e a r i n g the site has m a d e the d i a g o n a l seem possible. it seems n a t u r a l that it should o c c u p y the little Somehow diagonal

413

THE

WAY

b e t w e e n the apple tree a n d the acacia. T h e r e is also the question of the stair. Shall it be n e a r the e n t r a n c e corner, STAGE)? tucked away (OPEN STAIRS, STAIRCASE going AS A u p p e r h a p s e v e n o u t d o o r s o r shall it be back in the far

and INDOOR SUNLIGHT give me the overall layout of the inside.

I N T I M A C Y GRADIENT INTIMACY GRADIENT doesn't m e a n m u c h in such a small building, except perhaps for the f o l l o w i n g ideas, (i) A the small seat or w i n d o w seat inside the f r o n t d o o r , ( 2 )

stairs far e n o u g h back so it is a secluded " b e d " area, and ( 3 ) the stairs placed so a person can g o out to the bathr o o m w i t h o u t c o m i n g t h r o u g h the f r o n t d o o r i n other w o r d s a kind of back access out to the little arcade that gives onto the b a t h r o o m s , INDOOR SUNLIGHT tells me that main usable spaces are t o w a r d s the terrace, t o w a r d s the g a r a g e , t o w a r d s the m a i n h o u s e a n d that the north side, over t o w a r d s our n e i g h b o r , is kept for d a r k closets, stora g e . I t m a y m a k e sense to place a w h o l e r o w of s t o r a g e alcoves o v e r on the n o r t h s i d e t h i s will also help to a c complish NORTH FACE. T h i s m a y include kitchen c o u n t e r and stove if they are added later.

STAIRCASE AS A STAGE, ZEN V I E W , TAPESTRY OF LIGHT AND DARK

give me the -position of the stair to the

upstairs.
S t a n d i n g inside the m a i n r o o m of the c o t t a g e , it feels as if the stair c o u l d g o up on the side opposite the e n t r a n c e . 414

SHAPING

ONE

BUILDING

T h i s m a k e s the most s e n s e ; it helps f o r m the r o o m then, a n d its r o o f , w h i c h will stick up slightly, at the back of the roof terrace, a n d f o r m a nice a n g l e w i t h the twostory s e c t i o n a b e a u t i f u l c o r n e r , f a c i n g s o u t h - w e s t , nice to sit in to e n j o y the r o o f . T h i s m e a n s that the stair w i l l g o up, perhaps t o w a r d s a w i n d o w at its top, w h i c h looks out onto the n e i g h b o r ' s g a r d e n to the n o r t h ( n e w a n d g i v e s LIGHT TO W A L K TOWARDS. O t h e r where the back a r e a (kitchen area) view the only place f r o m w h i c h one c a n see o u t that w a y ) ; aspects of to the TAPESTRY OF LIGHT AND D A R K t h e r e should be l i g h t , opens out d o o r w h i c h leads to the a r c a d e p e r h a p s a little f o u n t a i n or court t h e r e , f o r m i n g l i g h t , i n v i t i n g us out t o w a r d s the small existing c o t t a g e . A n d , of course, f r o m inside the main r o o m , l o o k i n g out t o w a r d s the f r o n t d o o r o n t o the t e r r a c e , is also l o o k i n g t o w a r d s light.

tells me how to connect the building to the cottage west of it.

ARCADE

A s far as the little a r c a d e at the back is c o n c e r n e d , bet w e e n the " k i t c h e n " a n d the old c o t t a g e , w i t h the b a t h r o o m o f f it, I talked to Susie in the c o t t a g e : w e l o o k e d at the w i n d o w of her b e d r o o m , w h e r e I had hoped to m a k e a d o o r , a n d it w a s clear to both of us that if w e m a d e a door, it w o u l d ruin the inside of the r o o m i t is so small, the second d o o r w o u l d m a k e it like a c o r r i d o r . So, I s u g gested w e leave the w i n d o w f r a m e w h e r e it is, a n d put a step on the inside, a n d t w o steps on the outside, like a stile. W e w i l l put a c a s e m e n t w i n d o w in the window and f r a m e , perhaps m a k e the w i n d o w s i l l 3 inches l o w e r ;

415

THE

WAY

she can g e t out to the b a t h r o o m by g o i n g o v e r the stile, d o w n the t w o steps, into the a r c a d e .

SLEEPING TO T H E EAST

helps shape the roof in detaily

because of light.
I looked at the light t h r o u g h that w i n d o w . T h e r e is a danger we our n e w and cottage move may take away her morning of l i g h t ; so w e will place bamboos to m a r k the roof line expect, it, until there is still plenty m o r n i n g light c o m i n g in t h r o u g h that w i n d o w . Looking

out of the same w i n d o w , it seems m o r e i m p o r t a n t for the roof to pitch to east a n d west, w i t h gable ends at north and south, so that the slope of it a l l o w s the light to c o m e d o w n easier into her c o t t a g e . T h e gable end m a k e s m o r e sense f o r the sleeping l o f t a n y w a y i t c a n open directly onto the roof g a r d e n (SHELTERING ROOF).

ENTRANCE TRANSITION shows me how to arrange the area in front of the building. I h a v e n ' t been c a r e f u l e n o u g h w i t h this p a t t e r n h a v e l e f t it a little too late. I have been t h i n k i n g about the possibility of a TRELLISED W A L K , or TRELLIS a n y w a y , to help close o f f the terrace to the south, a n d help protect it a little f r o m the big house to the south. T h i s w i l l also m a k e the terrace m o r e of a n OUTDOOR ROOM, and help to m a k e the direct c o n n e c t i o n to the house m o r e i m p o r t a n t than the one f r o m the d r i v e w a y . So I close m y eyes, a n d imagine c o m i n g up the d r i v e w a y , passing u n d e r a j a s m i n e - c o v e r e d trellis, w h i c h ties into the g a r a g e , t h r o u g h into the b r i g h t e r 416

SHAPING

ONE

BUILDING to

l i g h t of the t e r r a c e , w h i c h f o r m s a kind of a n t e r o o m the m a i n e n t r a n c e . T h e n

this w h o l e t e r r a c e b e c o m e s a

kind of r o o m . T h e trees, w h i c h f o r m its c o r n e r s , also help to e m p h a s i z e its c h a r a c t e r as an OUTDOOR ROOM.

FARMHOUSE K I T C H E N

gives me the character of the

main room inside.

E v e n t h o u g h the c o t t a g e w i l l be a w o r k s h o p , a n d place to live, it m a k e s most sense to think of the inside as a F A R M HOUSE K I T C H E N , w i t h a big table in the m i d d l e , chairs a r o u n d it, one l i g h t h u n g o v e r the c e n t e r , a c o u c h or a r m chair o f f to one side . . . . W h e n I start to i m a g i n e this,

and i m a g i n e e n t e r i n g it, I realize that it is m o r e i m p o r t a n t than I r e a l i z e d to keep it back, s l i g h t l y , f r o m the d o o r , to m a k e s o m e t h i n g o u t of the ENTRANCE ROOM that lies b e t w e e n e v e n t h o u g h , in a b u i l d i n g as s m a l l as this, this ENTRANCE ROOM m a y be s h r u n k to almost n o t h i n g . I

i m a g i n e c o m i n g in, b e t w e e n t w o seats, into a g l a z e d place, w i t h l i g h t c o m i n g in, a n d then passing t h r o u g h a second d o o r w a y , perhaps a LOW DOORWAY, into the m a i n r o o m of the FARMHOUSE K I T C H E N proper.

CONNECTION TO T H E EARTH and TERRACED SLOPE help me to complete the way the building's outer edge is formed. O f course, the t e r r a c e g i v e s the c o n n e c t i o n to the e a r t h . B u t I h a v e been t r y i n g to i m a g i n e h o w to m a k e the e d g e of the t e r r a c e , w h e r e it m e e t s the e a r t h . I f the t e r r a c e i t self is m a d e of tiles (laid either in e a r t h , or groutnot

417

THE

WAY

sure y e t ) , the e d g i n g could be a SITTING W A L L b u t that seems too f o r m a l , too e n c l o s e d o r perhaps better, it could be m a d e by a simple concrete block s u r r o u n d . T h i s seems a bit stark. I close m y eyes, and see the slight step, with blocks that are filled with rock-garden flowersthese f o r m the edge except at the f e w particular places w h e r e there is an actual step to the path b e y o n d . T h e slope of the g r o u n d is not e n o u g h to need a TERRACED SLOPE; but there is a definite fall of a f e w inches f r o m the back of the site to the f r o n t of the terrace. decide to place a n a t u r a l step, a l o n g m o v i n g or filling the c o n t o u r w h e r e v e r it m a k e s s e n s e s o that w e do as little w a y the land is. A s far as the connection to the earth O :oes,' there are still two big unanswered questions. What exactly happens a r o u n d the little apple tree to the south? A n d w h a t exactly happens a l o n g the w e s t w a l l of the building, b e t w e e n the e n t r a n c e area and the bathing r o o m arcade? I t is possible that the place under the acacia tree m i g h t be blocked c o m pletely by a WINDOW PLACE whicli f o r m s part of the entrance, or falls just inside it. I n this case one w o u l d not be able to w a l k a l o n g this edge of the building, and could o n l y g e t to the b a t h r o o m arcade by g o i n g into the buildi n g . N o t sure if this is r i g h t ; perhaps too tight. We line, earth

as possible, and the house sits just the

and E N T R A N C E arrangement of the entrance.

WINDOW PLACE

ROOM

fix the detailed

I n order to m a k e progress on all this, w e w e n t out to the site, and looked a r o u n d , t r y i n g to i m a g i n e all this m o r e 418

SHAPING concretely

ONE

BUILDING started especially with the

on the l a n d . W e

f r o n t door. Should it be a n g l e d , to face the t e r r a c e , or f a c i n g w e s t ( i n t o the acacia tree, or f a c i n g south, t o w a r d s the g a r a g e ) ? Although f a c i n g south is less direct such a than w h e n it is a n g l e d , it seems b e s t i t creates a slight sense of ENTRANCE TRANSITION, doesn't a l l o w complete v i e w of the inside f r o m the t e r r a c e i t uses the little apple tree v e r y nicely, to one side: a n d it leaves the WINDOW PLACE to the w e s t , just p e r f e c t , inside the front door, helping to f o r m the ENTRANCE ROOM. W e staked it out, w i t h s e v e n - f o o t - h i g h stakes, so w e could begin to feel its presence. T h e r e is a need to protect the apple tree a n d w i l d onions, f r o m t r a m p l i n g s o it w i l l be n a t u r a l to m a k e a l o w w a l l at a slight a n g l e , perhaps c u r v i n g out, to f o r m the approach into the d o o r t h i s w i l l m a k e DOOR BENCH. the FRONT

then generates a further differentiation of the inside room.

ALCOVE N o w w e stood inside the r o o m , l o o k i n g t o w a r d s the d o o r , t o w a r d s the c o u n t e r area at the back, to m a k e the actual shape of the r o o m work out just right. T h e WINDOW PLACE to the right of the door w o r k s b e a u t i f u l l y . A n o t h e r ALCOVE to the left of the door, on the l e f t - h a n d side of the apple tree seems just right too.

Now STAIRCASE BAY shows us how to stake out the four corners of the stair, so that we get a realistic look at its effect on the room.

419

THE

WAY

I imagine it v e r y steep ( 7 feet h o r i z o n t a l r u n , for a climb of 8 ' 6 " ) , and no m o r e than about 2 feet w i d e s i n c e it only leads to a sleeping l o f t . W e f i x the top of the stair, by k n o w i n g that the back c o u n t e r of the kitchen w i l l c o m e in three feet f r o m the n o r t h face of the building, and that the upper story will rise directly f r o m that line. I f the sleeping l o f t is 7 feet n o r t h - t o - s o u t h , e n o u g h for a b e d a n d the stair comes up inside it, w i t h a 3 f o o t l a n d i n g at the top, this a l l o w s us to fix the top of the stair 6 or 7 feet south of the property l i n e a n d the b o t t o m of the stair 1 4 feet south of the line. W h e n w e look at the stair, it blocks the south-east alcove a b i t s o w e splay the a l c o v e , a r o u n d the apple tree, to c o n n e c t it better w i t h the m a i n r o o m . it out also, and imagine a window in it, l o o k i n g A splay of t w o feet m a k e s an e n o r m o u s d i f f e r e n c e . W e stake west t o w a r d s the apple tree (WINDOW P L A C E ) .

THICK WALLS

farmhouse

helps me define the inside edge of the kitchen.

N o w , s t a n d i n g in the middle of the r o o m w h i c h is to be the FARMHOUSE KITCHEN, I imagine another seat or closets u n d e r the stair; perhaps a w i n d o w u n d e r the stair too, l o o k i n g t o w a r d s the g a r d e n to the east: small w i n d o w s o v e r the c o u n t e r to the n o r t h w h i c h f o r m s the m a i n THICK W A L L . T a l k i n g about the second story, w e realize that the load of its southern w a l l w i l l fall right o v e r the vault w h i c h f o r m s the FARMHOUSE K I T C H E N : it w i l l probably need a rib in the m i d d l e , and this rib can give us a nice c e n t e r to the r o o m , a place to h a n g a l i g h t LIGHT). 420 (POOLS OF

SHAPING

ONE

BUILDING

CEILING HEIGHT VARIETY

completes the upstairs and

the downstairs.
T h i s p a t t e r n is satisfied almost a u t o m a t i c a l l y by w h a t has g o n e b e f o r e . F o r the m a i n r o o m , I i m a g i n e one big v a u l t , perhaps 8 ' 6 " high at the c e n t e r . T h e back w a l l , w h e r e the kitchen c o u n t e r is, the m a i n alcove to the south, and the w i n d o w place by the d o o r , all spring off the perimeter b e a m , w h i c h w i l l be at about 6 ' 6 " g o i n g d o w n to 5 ' 6 " or 5 ' o " . U p s t a i r s the sleeping r o o m is l o w a n y w a y , u n d e r the r o o f ; and it has a still l o w e r section, o v e r to the w e s t , w h e r e the bed is in an a l c o v e w h i c h has no m o r e than a 4 ' 6 " to 5 ' o " ceiling.

All in all} the design took about a week of continuous on-and-off thought.
I m u l l e d each g r o u p of patterns, in t u r n , as the s h o w . S o m e t i m e s , I spent as m u c h as an h o u r notes

thinking

about one p a t t e r n . I n these cases, I d i d n ' t actively think h o w to do the pattern for an h o u r . I did all kinds of other things, d r o v e the c a r , played music, ate an apple, w a t e r e d the g a r d e n , e t c . , w a i t i n g for the p a t t e r n to f o r m itself in m y m i n d , by t a k i n g on shape appropriate to this p a r t i c u l a r site and p r o b l e m . I n m a n y of these cases, I g o t the k e y i n sight by w a l k i n g into the design, so f a r as it w a s c o m p l e t e d , a n d then a s k i n g , w h a t w o u l d I see o v e r there if this pattern I a m n o w t h i n k i n g about w e r e in the building? c a m e if I w a s really there, could touch a n d smell was around me. Very what o f t e n , the a n s w e r c a m e almost i m m e d i a t e l y . B u t it only

421

THE

WAY

And I never made a drawing of the building.

T h e design w a s done completely in m y mind. O n l y in the fluidity of y o u r mind can you conceive a w h o l e . A s the design unfolds, and the n e w patterns are brought into play, according to the order of the l a n g u a g e , the entire design has to shift and resettle itself in y o u r mind with every n e w pattern. E a c h n e w pattern in the sequence transforms the w h o l e design created by the previous p a t t e r n s i t transforms it as a w h o l e , it shakes it up, and realigns it. T h i s can only happen if the design is represented in an utterly fluid m e d i u m ; it cannot happen in any medium draww h e r e there is the slightest resistance to c h a n g e . A

ing, even a rough d r a w i n g , is very r i g i d i t embodies a c o m m i t m e n t to details of a r r a n g e m e n t far beyond w h a t the design itself actually calls for while it is in an e m b r y onic state. I n d e e d , all the external media I k n o w s a n d , clay, drawings, bits of paper lying on the only floorare medium all far too rigid in this same sense. T h e change as n e w patterns enter it, is the mind. Representation there is fluid: it is an i m a g e , yet an image w h i c h contains no more than essentialsand it can c h a n g e , almost of its o w n accord, under the t r a n s f o r m ing impact of a thought about a n e w pattern. the m e d i u m of the mind, each n e w pattern fort. Within transforms

w h i c h is truly fluid, w h i c h allows the design to g r o w and

the w h o l e design, almost by itself, without any special e f -

422

SHAPING

ONE

BUILDING

Imagine trying to build sentences by shuffling words around on a piece of tracing paper.
W h a t terrible sentences. T h e act of speech is a spontaneous, a n d immediate response to a situation. T h e more spontaneous it is, the m o r e directly related to the situation, a n d the m o r e beautiful. T h i s spontaneity is g o v e r n e d by the rules of E n g l i s h w h i c h are disciplined and f r o m t h e m , takes place in the i m m e d i a c y and your o w n mind. Just so w i t h a pattern l a n g u a g e . T h e p a t t e r n s are disciplined; and the o r d e r of the l a n g u a g e is disciplined. B u t y o u c a n o n l y use these patterns in that o r d e r if y o u are w i l l i n g to c o m b i n e the discipline they give y o u , w i t h the spontaneity a n d i m m e d i a c y of direct e x p e r i e n c e . Y o u c a n not create a design by p a t c h w o r k , on pieces of tracing ordered; fluidity of but the use of these rules, and the creation of a totality

paper. Y o u c a n only create it, as if it w e r e a real experience of a real b u i l d i n g : and that y o u can only do in y o u r mind.

It is only in the mind's eye, eyes shut, not on paper, that a building can be born out of the vividness of actual experience.
I n the c o t t a g e I h a v e been describing, w e e v e n built the b u i l d i n g w i t h o u t the use of d r a w i n g s s i m p l y by staking out the b u i l d i n g , as I s a w it in m y m i n d ' s e y e , a n d then u s i n g a pattern l a n g u a g e for c o n s t r u c t i o n , in the w a y d e scribed in c h a p t e r 2 3 .

423

THE

WAY

Of course, this little experimental building is still immensely far from the great beauty and simplicity of the houses which are shown at the beginning of the chapter.
I t will take years more of experiment, with w a y s of building, before w e can do that. It is too loose, too informal, the construction patterns which control its detailed shape are not harmonious e n o u g h , not disciplined e n o u g h . . . Y e t still, this building has just the beginning of a spirit, a hint of a touching quality, w h i c h is at least a f e w steps d o w n the road.

Anyone can use a language to design a building in this way.

N o matter w h o does it, the buildings w h i c h are made like this will be ordinary and natural, because each part in the design is f o r m e d by its position in the w h o l e . I t is a primitive process. T h e primitive f a r m e r spends no time " d e s i g n i n g " his house. H e thinks briefly w h e r e and h o w to build it, and then sets about building it. T h e use of the l a n g u a g e is like that. T h e speed is the essence. I t takes time the l a n g u a g e . B u t it takes no o o more than a f e w hours or days to design a house. If it takes l o n g e r , you k n o w it is tricky, " d e s i g n e d , " and no l o n g e r organic. to learn

And it is just like

English.

425

SHAPING

ONE

BUILDING

W h e n I speak E n g l i s h , the s e n t e n c e s f o r m t h e m s e l v e s in m y m i n d as fast as I can say t h e m . A n d this is true of p a t tern l a n g u a g e s also. T h e quality that m a k e s a building feel as t h o u g h it has been there f o r a thousand years, the quality that m a k e s it feel that it has f l o w e d like w r i t i n g f r o m a p e n , c o m e s a l most a u t o m a t i c a l l y w h e n I r e l a x m y m i n d , a n d let the l a n g u a g e g e n e r a t e the building f r e e l y there.

I still remember the -first time I used a pattern language in this way. I found myself so completely caught up in the process that I was trembling. A handful of simple statements made it possible for my mind to flow out and openy through themand yety although the house which came was made by mey born of my feelingsy it was at the same time as though the house became realy almost by itselfy of its own volitiony through my thoughts. It is a fearsome thingy like diving into water. And yet it is exhilaratingbecause you arenyt controlling it. You are only the medium in which the patterns come to lifey and of their own accord give birth to something new.

426

CHAPTER

22 BUILDINGS
can on pat-

SHAPING A GROUP OF

In the same wayy groups of people conceive the groundy by following tern languagey single mind. almost a common

their larger public buildingsy as if they had a

We

know

from

chapter

21 y that an individual simfly ity on the with site.

ferson> a

can create sequence Now of feofley guagey building.

a building of patterns also

in his mind generate furthery and frocess

by letting

we go one stef can use the

and see how a a common a to design

grouf lanlarger

on a sitey same

I t is often said that no group of people can create a w o r k of art, or anything which is whole, since different people pull in different directions, and make the end product a compromise which has no strength. T h e use of a shared pattern language solves these problems. A s we shall n o w see, a group of people w h o use a common pattern language can make a design just as well as a single person can within his mind. together

Here

is an exam fie

of a

clinic.

I t is a psychiatric clinic to serve a rural population of about 50,000 in California. T h e building has about 25,000 square feet of internal space, and sits on a piece of land whose area is about 40,000 square feet in the middle of an existing hospital. T h e building w a s designed by a team which included the director of the clinic ( D r . R y a n , a psychiatrist), several of his staff members w h o had years of experience w o r k i n g with patients, and t w o of us from the C e n t e r for E n v i r o n m e n t a l Structure.

Again

the frocess

begins

with a pattern

language.

432

SHAPING

GROUP

OF

BUILDINGS

W e sent D r . R y a n a sequence of patterns f r o m the printed p a t t e r n l a n g u a g e w h i c h w e t h o u g h t m i g h t be u s e f u l . W e asked him to pick those he t h o u g h t w e r e r e l e v a n t ; g e t rid of those w h i c h w e r e i r r e l e v a n t ; a n d asked h i m to a d d w h a t e v e r special patterns or n e w " i d e a s " w h i c h seemed to be missing, i n c l u d i n g , of course, those special parts or " p a t t e r n s " specific to a clinic. T h o s e n e w ones w h i c h he a d d e d are m a r k e d w i t h asterisks b e l o w . A f t e r o u r first discussion, w e had a l a n g u a g e of some forty patterns: BUILDING COMPLEX NUMBER OF STORIES SHIELDED PARKING MAIN GATEWAY CIRCULATION REALMS MAIN BUILDING PEDESTRIAN STREET * A D U L T DAY CARE * ADOLESCE NT DAY CARE *CHILDREN'S DAY CARE ^OUTPATIENT *INPATIENT ^ADMINISTRATION ^EMERGENCY F A M I L Y OF ENTRANCES SOUTH FACING OUTDOORS WINGS OF LIGHT POSITIVE OUTDOOR SPACE HALF-HIDDEN GARDEN HIERARCHY OF OPEN SPACE

433

THE

WAY

COURTYARDS W H I C H LIVE CASCADE OF ROOFS SHELTERING ROOFS ARCADES PATHS AND GOALS PEDESTRIAN DENSITY I N T I M A C Y GRADIENT COMMON AREAS A T T H E H E A R T E N T R A N C E ROOM TAPESTRY OF L I G H T AND DARK FARMHOUSE KITCHEN

F L E X I B L E OFFICE SPACE SMALL WORK GROUPS R E C E P T I O N WELCOMES YOU A P L A C E TO W A I T SMALL M E E T I N G ROOMS H A L F - P R I V A T E OFFICE L I G H T ON TWO SIDES OF EVERY ROOM BUILDING EDGE OUTDOOR ROOM T H E SHAPE OF INDOOR SPACE CEILING H E I G H T VARIETY

Gradually

this

language

changed.

A s m o r e discussion t o o k p l a c e , p e o p l e ' s ideas a b o u t the p a t t e r n s w h i c h the clinic s h o u l d c o n t a i n , c h a n g e d . T h e y de-

c i d e d t h a t I N P A T I E N T w a s u n i m p o r t a n t , since the n e a r b y hospital w o u l d t a k e c a r e of o v e r n i g h t patients. T h e n it

t u r n e d o u t t h a t the clinic n e e d e d a single a r e a f o r o c c u -

434

SHAPING

A GROUP

OF

BUILDINGS

pational t h e r a p y a n d that this would become the MAIN BUILDING.

Dr.

Ryan

decided

that

there

ought

to be a GREENcould into the them

HOUSE as fart help plants gardens

y

of this after

MAIN BUILDING: patients the gardens.

to grow> and then transplant

and look

T h e n the discussion of the GREENHOUSE made the HALFHIDDEN GARDENS seem much more important, and they became an essential part of the conception of the building. L a t e r , w h e n w e realized the importance of the CHILDREN'S HOME, a place at the entrance of the clinic where parents could leave children while they were being treated, w e introduced STILL WATER, and a FOUNTAIN w h e r e the children could play and splash about. T h e r e was some debate about COMMUNAL EATING; finally it w a s agreed that this pattern should be included, because the advantages of staff and patients eating lunch together regularly seemed so essential. O n l y the fact that each person should cook for the others in turn w a s not included, since it seemed impractical.

Every

aspect of the clinic's of

lifey was discussedy

and

set-

tledy in the medium

patterns.

T h e language has the medium in which people worked out their disagreements, and in which they built a common picture of the building and the institution as a whole. Usually people have a great deal of trouble w h e n they

435

THE

WAY they

try to define the future of an institutionbecause

have no language, no medium, in which they can forge their definitions, no w a y of gradually building up agreements, no w a y of gradually settling disagreements. B u t with the pattern language as a base, the group of people gradually come to see themselves, and their activities, and their environment, as one t h i n g a s a whole.

And

finallyy

when

everyone ready

agreed

about design.

the

'pattern

languagey

we were

to begin

A t this stage, the people w h o were going to run the clinic, had a shared vision, a vision not only shared in its intentions, in its broad outline, but shared in the details too. A s a community, they k n e w , n o w , just exactly w h a t they wanted, h o w it was going to w o r k , w h a t kind of places there would be in it, . . . everything in short, they needed to k n o w , in order to begin design.

Then

we began the design

itself.

It took a week, M o n d a y to Friday, out on the site itself, walking around parked cars and obstacles, overcoats against the fog, walking, w a l k i n g all day long, cups of coffee, crazy dancing around, as the building took shape, chalk marks on the ground, stones to mark corners. People wondered w h a t on earth w e could be doing out there in the fog, walking around, all day long, for so many days.

We

began

with

BUILDING COMPLEX.

436

SHAPING

GROUP

OF

BUILDINGS

T h e first p a t t e r n . W e sat, at first, a r o u n d a table in the n e a r b y health c e n t e r . H o w is this particular clinic g o i n g to reflect the building c o m p l e x p a t t e r n ? T h e pattern requires that any b u i l d i n g be m a d e up of visible c o m p o n e n t s , w h i c h c o r r e s p o n d to social g r o u p s : a n d i f low densitythat c o n n e c t e d by a r c a d e s and passages. F i r s t of all, D r . R y a n said, I see m a n y m a n y little c o t tages, each one i n d i v i d u a l a n d personal. H o w y o u see? W e l l , perhaps 3 0 separate cottages. T h e entire building c o m p l e x w i l l h a v e 2 4 , 0 0 0 square feet. I point out that if there are 3 0 cottages, each one w i l l on the a v e r a g e h a v e a b o u t 800 square 25 X feetperhaps 3 0 a n d that some of t h e m w i l l be e v e n s m a l l e r . he said, W e l l , let's perhaps say 6 or 8 many do the c o m p l e x is at a separate, the c o m p o n e n t s a c t u a l l y be

T h i s d i d n ' t sound right. T h e r e w a s some discussion a m o n g the s t a f f . T h e n separate buildings, clustered a n d c o n n e c t e d , but identifiable a n d separate.

O (J

O '

W i t h this idea clear in o u r m i n d s , w e w e n t o u t d o o r s to the site itself.

Next

we

placed

the

MAIN G A T E W A Y and complex.

MAIN

EN-

T R A N C E to the building

437

THE

WAY

A l l the next patterns w e took on outdoors. W e w a l k e d out into the f o g in overcoats, and looked around. I asked: Suppose there is one main entrance to this building c o m p l e x : W h e r e is it? Close y o u r eyes; i m a g i n e ; w h e r e do you see it? Is it a l o n g the main street? Is it on the corner? D r . R y a n said: I see it half w a y a l o n g the d r i v e w a y w h i c h leads back from the road to the main hospital. I asked then: W e l l , let's decide exactly w h e r e it is. T h e pattern says that it must be immediate and visible from all possible lines of approach. If it is in this position, then there are t w o lines of a p p r o a c h o n e from the main road, w a l k i n g back; one from the hospital parking lot, if you have driven in, parked your car, and are n o w w a l k i n g f o r w a r d , tow a r d s the road again. L e t us g o to both these places and try to imagine the best position for it. First, all six of us stood at the road end of the d r i v e w a y , and looked back. I w a l k e d to the h a l f w a y point and said: I m a g i n e that I a m at the e n t r a n c e i s it right n o w ? m o v e d a f e w f e e t n o w ? m o v e d again . . . n o w ? I They

said stop, g o back, f o r w a r d a b i t t h e r e w a s v e r y g r e a t a g r e e m e n t a n d I made chalk m a r k s at the nearest and the farthest points. T h e y w e r e about 10 feet apart only, in a total length of 200 feet. T h e n w e w e n t to the other e n d t h e parking lot, and did the same thing. A g a i n I made chalk m a r k s w h i c h n o w showed the best place to make the entrance feel g o o d , for someone c o m i n g to it f r o m his car. T h e t w o sets of chalkmarks w e r e about ten feet apart: less than the size of the entrance itself.

438

SHAPING

A GROUP

OF

BUILDINGS

N o w the position of the main entrance was fixed. I explained that w e w o u l d now mark that, and that from n o w on it would be a given about the d e s i g n t h a t w e would no longer think about moving the entrance, in view of later t h i n g s b u t would let the design g r o w outward from this decision. A little f r i g h t e n i n g w h a t if things don't w o r k out?

Next>

with

the main

entrance

fixed,

we started

to de-

fine the CIRCULATION REALMS. I explained that this pattern required a single, simple

pedestrian area, opening directly from the main entrance, and, further, a series of individual pedestrian realms opening off this one main path. W e stood at the main entrance, and wondered this might be. A t the far end of the site, opposite the entrance, were four magnificent trees. It seemed natural, then, to make the main path go d o w n towards those trees. A n d , with several small buildings opening off this path, some to the left, some to the right, it was easy to imagine a series of smaller paths, more or less at right angles to the main path, opening off it. how

439

THE

WAY

Within

the

circulation

realms

we

placed

the

MAIN

BUILDING. T h i s pattern calls for a main building, in any group of buildings, to act as a heart and focus: and requires that this building have paths, tangent to it, with views into the inside, so that everyone w h o moves about the building complex is connected to it all the time. W e spent some time discussing w h a t part of the clinic might most naturally function as a main building. Finally, we agreed that the so-called occupational therapy building where patients do various kinds of creative work would make the best " h e a r t , " and decided to make a large building, with a specially high roof, right in the middle, for this reason.

Theny

outside

the main

building}

an ACTIVITY NODE.

440

SHAPING

GROUP

OF

BUILDINGS

I f there w a s to be a n o d e of activity, inside the building c o m p l e x , it seemed n a t u r a l to place it just at one of the places w h e r e the m a i n " s t r e e t " is crossed by t w o of the wide "streets"and where several important buildings m e e t a r o u n d it. W e decide to open this crossing, to have a f o u n t a i n t h e r e , a n d to m a k e doors f r o m the m a i n b u i l d i n g , f r o m the administration b u i l d i n g , a n d f r o m the child care, w i t h c h i l d r e n p l a y i n g , all open into this n o d e .

Around culation

the activity realmsy we

node placed

at the

key

points

in the

cir-

RECEPTION,

ADMINISTRA-

TION, O U T P A T I E N T , A D U L T DAY CARE, ADOLESCENT DAY CARE, C H I L D DAY CARE. N o w w e placed the various d i f f e r e n t buildings on the site. D r . R y a n had r a t h e r clear ideas a l r e a d y , a b o u t the positions of these buildings. H e s h o w e d us w h e r e he f e l t they

441

THE

WAY

ought to go, and w e discussed it, w a l k i n g about the site. O n e question came up. T h e r e were going to be t w o outpatient t e a m s D r . R y a n had placed them to the right, after, just after the entrance, since that seemed to him the most natural position for the buildings which would be used most. Since there were to be two teams, each with its o w n identifiable place, we thought about the circulation realms. W e all stood at the activity node and asked ourselves h o w they might be placed, so that they would be clearly diff e r e n t s o that a patient would k n o w which one "his." Several of the staff stood, with their eyes closed, and suggested that if there were a courtyard, and the t w o teams opened off this courtyard to the left and right respectively, it would be clear and simple. was

Theny

in a special

placey near the main entrancey

COM-

MUNAL EATING. D r . R y a n agreed that the process of sharing food is one of the most fundamental in any human group. W e discussed the various ways this might happen, and might help patients to become more emotionally stable. He and the chief administrator for the clinic decided finally that it would make most sense to place a kind of cafe, in the first garden on the left, attached to the library and administrative services, visible from the activity node and fountain at the main cross roads within the project.

442

SHAPING Now} within the

GROUP

OF building

BUILDINGS areas, we made

individual

SOUTH FACING OUTDOORS, WINGS OF LIGHT, POSITIVE OUTDOOR SPACE. N o w c a m e the most difficult part of the process. A t this stage, w e had some r o u g h idea of w h e r e the various buildings w e r e ; movement a n d some r o u g h idea of the m a i n paths a n d between buildings. Now came the moment

w h e n the a c t u a l position of buildings, a n d the shape of the outdoors had to be f i x e d . T h i s is a l w a y s one of the most difficult m o m e n t s in the l a y o u t of a l a r g e g r o u p of buildings. I t is tense, a n d rather n e r v e - r a c k i n g . U n t i l this has been a c c o m p l i s h e d , a b o u t the things w h i c h there is a d i a g r a m m a t i c h a v e been laid o u t : the quality people

w a l k i n g about ask t h e m s e l v e s w h e t h e r there is a n y a c t u a l , c o n c r e t e w a y of l a y i n g out the buildings w h i c h g i v e s t h e m sensible shapes, and w h i c h gives sensible shapes to the o u t d o o r spaces too. A s a l w a y s , e v e r y o n e b e c a m e r a t h e r n e r v o u s . I n d e e d , in this particular case it w a s especially difficult. W e spent an a f t e r n o o n , not k n o w i n g e x a c t l y h o w to a r r a n g e the buildings, w e n t h o m e a n d slept on it; a n d the n e x t m o r n i n g , f i n a l l y f o u n d a w a y of d o i n g it w h i c h m a d e it s e e m simple and workable. I thought, first, that every garden, in b e t w e e n the This buildings, n e e d e d to be cupped t o w a r d s the south.

m a d e the l e f t - h a n d side a n d the r i g h t - h a n d side, w h i c h so f a r had s e e m e d s y m m e t r i c a l , b e c o m e a s y m m e t r i c a l . I t w a s complicated by the f a c t that all these g a r d e n s , or c o u r t y a r d s , n e e d e d to be c o n n e c t e d to the m a i n pedestrian

443

THE

WAY flowers, and trellises, back

p a t h s o there w o u l d be views of glimpsed spaces. from

the path, inviting people into the

W e realized, finally, that the double e f f e c t of the connection to the main path, and the facing south, coupled with the idea of buildings w h i c h w e r e not too wide at any point, so that they w o u l d give natural daylight in all buildings this rooms, led us to a series of r o u g h T - s h a p e d

placed to the north of south-facing courtyards. A t

m o m e n t , w h e n , for the first time, w e had a layout of the building space and open space, w e finally k n e w w e had a group of buildings that could be built.

T h e r e w a s no doubt, at any stage, that these patterns w o u l d make something buildable. B u t it is w o r t h recording the fact that to those people w h o had not seen the process in action, it w a s very remarkable that the issue w o u l d resolve itself within the loose and slightly irregular array of buildings w h i c h had been f o r m e d so far. T h i s is an extreme example of the fear, the fear of p l u n g i n g in, w h i c h people must live w i t h , w h e n they are letting their l a n g u a g e generate a building for t h e m . It w a s only because of the confidence that it w o u l d w o r k , that everyone allowed the thing to remain fluid for so long.

444

SHAPING

A GROUP

OF

BUILDINGS

O f course, it would have been possible to make some formal arrangement of buildings and open s p a c e s o m e formal geometrical arrangement, very much earlier. would be some feasible w a y of placing the buildings. B u t it would have killed the spirit of the buildings. It would have killed that subtle, rambling balance of coherence, and incoherence, which comes from the fact that every building is unique, according to its position in the whole. A formal arrangement would have guaranteed that there

Within places

the

individual

buildings> realmsy

and

in the

proper

in the circulation

we placed

a FAMILY

OF ENTRANCES. Finally, to make these buildings coherent, not only with respect to space and volume, but also for the person coming in, w e dealt with the family of entrances: the patterns which require that, in some fashion, all the different buildings have similar entrances, which are clearly visible, as a group, from the main pedestrian paths, and which are also members of a family, so that one sees " a t a g l a n c e " the w a y they span the full range of possible entrances. W e walked about the site, which was by n o w laid out in some detail, with chalk marks and stones, and asked ourselves w h a t we w o u l d like to see from various points, w h a t w e would like to see of entrances. I talked about the FAMILY OF ENTRANCES pattern: then asked everyone to stand in different places in the site, with their eyes closed. Imagine, n o w , that the FAMILY OF ENTRANCES pattern is solved as perfectly as you can i m a g i n e i t is ideal; it is

445

THE

WAY

w h a t you dream about w h e n you think this pattern is there, in the most beautiful form it can be. O n e person suggested " a whole lot of porches"; each one with its seats, so people can wait, outdoors, for appointments, a couple of steps up. Nice w o o d columns each one sticking f o r w a r d from its respective building.

At this stage, as a complex}

the basic layout was complete.

of the building

complexy

T h e decisions which had been made on behalf of the clinic "as a w h o l e " were finished. N o w it w a s time to go d o w n into the details of the individual buildings, and the individual gardens. F o r this, we asked the doctors and the staff to rearrange themselves, in small groups, each one responsible for one of these buildingsso that the individual buildings could be designed by the people w h o k n e w most about them, most about w h a t was going to happen there.

Now

different

specialists

on the clinic staff worked building.

out

the details

of each different 446

SHAPING

A GROUP

OF

BUILDINGS

T h e doctors concerned most with children designed the building for child treatment and for adolescent treatment; the social workers most concerned with outpatients designed the outpatient areas; the administrative officer of the clinic designed the administrative building.

The

director

of the clinic

himself

designed

the

details

of the large central

building.

H e put child care at one end, just inside the entrance, so that playing children would be visible, and children coming to it would feel comfortable and unafraid (as specified by VISIBLE CHILD CARE). He placed a large greenhouse at one end of the main social hall, with the idea that patients could learn to take care of plants, and might, in the end, take care of all the plants in the clinic's gardens (OCCUPATIONAL THERAPY). H e made alcoves inside the main social hall where small groups can gather to talk (FAMILY ROOM ALCOVES again) ; and an arcade outside, along the main street, to create a zone of social space neither entirely private nor entirely public (as directed by ARCADE).

Each

fart

of the building like the frocess

was designedy described

in detaily 2 r.

by

a frocess

in chafter

T h e patterns which affected the design included, for example, SHORT CORRIDORS, which explains how long corridors in buildings make people feel i n h u m a n ; RECEPTION WELCOMES YOU, which says that a building for patients should not have a formal reception counter, but instead a more informal arrangement with comfortable chairs, a

447

fireplace,

and coffee w h e r e people can be made to feel at

h o m e ; FARMHOUSE KITCHEN, a pattern most relevant to houses, which shows h o w a kitchen with a big table is one of the most comfortable places for communal discussion this pattern was used in three of the day treatment prog r a m s ; FLEXIBLE OFFICE SPACE, which requires a large number of small workrooms and alcoves, instead of the continuous open workspaces typical of modern office buildings. FAMILY ROOM ALCOVES, also most often used in houses, shows how small, low-ceilinged alcoves off the edge of larger rooms give people a chance to sit alone, or in twos, and be quiet, without leaving the larger group altogether. And we see then how a group of people can design a

complex

building. 448

O n c e they agree about the language, the actual emergence of the form is simple and fluid. W h e n a group of people try to do something together, they usually fail, because their assumptions are different at every stage. B u t with a language, the assumptions are almost completely explicit from the start. O f course they no longer have the medium of a single mind, as an individual person does. B u t instead, the group uses the site " o u t there in front of t h e m , " as the medium in which the design takes its shape. People walk around, wave their arms, gradually build up a common picture of the building as it takes its s h a p e a n d all, still, without making a drawing. A n d , it is for this reason, that the site becomes so much more important for a group.

The not

site speaks people created.

to the peoplethe experience

building

forms

it-

selfand

it as something

receivedy

449

SHAPING

A GROUP

OF

BUILDINGS

A n d they are able to visualize the building, right before their eyes, as if it were already there. The idea that " o r d i n a r y " people cannot visualize a building is completely false. T h e building g r o w s , and comes alive, before their very eyes. A f e w sticks in the ground, or stones, or chalk marks, are enough to bring the image to mind. A n d then the building can be built directly from these marks.

Of the

coursey

this buildingy 21 y is still in the

like

the experimental shallower which start

buildthan this

ing in chapter buildings chapter.

immensely

photographs

I t has great beauty of layout. B u t in its details of construction it still falls far behind. Indeed, in its construction it is completely spoiled. F o r reasons outside our control, it w a s necessary that this particular building, once laid out, was then "detailed" by ordinary processes. It was taken to the d r a w i n g board, by people w h o had not laid it out, far from the site, and given mechanical " d r a w n " details, quite inappropriate to its design . . . until it became, in the end, no different from a thousand ordinary buildings of our time. I n short, it was almost destroyed, because it was not built in the right w a y . A t first I hesitated, I was not sure whether to write this, or w h e t h e r to include the picture, because it is so sad and so depressing. B u t then I realized how essential it is to include it: because many people may

451

THE

WAY

be willing to lay out a building in the w a y I have described, and will then try to get it built from drawings.

The only

life,

pulse,

substance,

subtlety

of the building way slowly, the and during

can that in acthe where

be retained, which the

if it is built, birth

in the same building form

it has been process, which

designedby gives building

a sequential to the where right

linguistic

gets its final get their

tual process in advance process the building

of construction: as patterns, them, stands.

the details, substance from exactly

known

of creating

there,

In short, a building laid out by a pattern language process, and which comes to life because of it, will die again, quite certainly, w h e n it is built, unless the process of construction is the s a m e u n l e s s , that is, the same spirit which generated rooms that are just right, entrances where they should be, light coming from the right directions . . . is carried on into the details, and also shapes the columns, and the beams, the w i n d o w frames, the doors, the vaults, the colors and the ornament as well. In the next chapter w e shall see how such a construction process works.

Yet out.

even

this clinic, touched

crude

as it is in its of the people

construction, who laid it

already

the hearts

452

SHAPING

A GROUP

OF

BUILDINGS

In earlier chapters I have described, in theory, w h y the active use of a language is so important to a person. I t is because it is the only process in which he is able to make his picture of the w o r l d solid and a c t u a l h i s feelings are embodied in the active concrete manifestation of his language : he feels his world as w h o l e ; it comes from within him, and is then around him, physically. In the case of this clinic, w e observed this process in fact.

Dr.

Ryan

told

us, after week

his clinic

was built, in five alive.

that

this was

one week the most the week

he sfent important in which

with us, shaping he had felt most

the building,

he had spent

years

N o w , years later, seeing the building made though he has since m o v e d h e

realeven

remembers that w e e k ,

standing in the fog, making chalk marks on the ground as w e laid the building out, talking about the place for the entrance, the place for the greenhouse, the places where people could sit, the fountain, the small gardens, week in five years of his w o r k i n g life. the rooms, the a r c a d e s h e remembers this week as the best

The

simple

process

by which placing deeply.

people

generate

living arms, will

building, thinking always

simply together, touch

by walking

it out, waving stakes in the

their ground,

them

453

THE

WAY

It lives

is a moment togethery process

wheny

within

the

medium image of which them. in

of a their this

shared languagey common

they create a common and experience of creation generates

the union

454

CHAPTER T H E PROCESS OF
Once the buildings few simple

23 CONSTRUCTION
like ground but

are conceived

thisy they can be builty directlyy marks made in the again within a common directlyy and without

from a

languagey

the use of drawings

Suppose doney great Now

noWy that you have It happensy

the layout

of a

building last very

according ease.

to the processes

described

in the

two chapters.

as we have

seeny with of the

we come to the actual building

building.

A g a i n , just as before, the process is sequential. O n l y n o w the patterns operate not on a mental image, but on the building itself, as it is being built. E a c h pattern defines an operation, which helps to differentiate, and to complete, the building as it g r o w s : and when the last patterns are introduced into the g r o w i n g fabric, the building is complete. A g a i n , the patterns operate upon the w h o l e : they are not parts, which can be a d d e d b u t relationships, which get imposed upon the previous ones, in order to make more detail, more structure, and more substanceso the substance of the building emerges gradually, but always as a whole, at each stage of its g r o w t h .

Supposey language building.

to start

withy

that

we have scheme

used

pattern for a

to lay out a rough

of spaces

A n d suppose that w e have captured this rough scheme on paper, with a rough pencil sketch, or on the ground, with stakes, or sticks and stones.

In order details

for the building be unique as carefully

to be alivey and fitted as the larger

its

construction individual parts.

must

to their

circumstances

459

THE

WAY

T h i s means that, like the larger parts, the details must be very carefully shaped according to their position in the larger w h o l e ; and, although similar parts will have a similar shape, no two of them will ever be exactly identical. L o o k , for instance, at these drawings. A c c o r d i n g to the room you start with, the exact spacing of the columns, and hence the exact size of panels which form the walls, are different in each case.

a
The rooms become alive because the details of the column spacing fit the whole. A n y kind of irregularity in the room can be accommodated without trouble by the building process. T h e exact size and spacing of the building details, governed by the process, adapts itself to the nature of the room.

The

details

of a building

cannot

be made

alive

when

they are made from

modular

farts.

Suppose, for example, that the building system contains a panel which is four feet wide, which fits together with other panels on a four-foot grid. N o n e of the many rooms which I have described could be built, exactly as they are, with these four-foot panels. T o build these rooms out of modular four-foot panels, each of the rooms would have to be made into a perfect square, sixteen feet by sixteen feet. 460

THE

PROCESS

OF

CONSTRUCTION

m cm ran
The room. If the builder wants to build the room from modular fourfoot panels, he must change the size of the rooms, and change their shape, to fit his panels. In such a building system, it is impossible for a person to create a plan which reflects the larger subtleties of site or plan. E a c h plan will always be chopped and disfigured to make it fit the building details. A n d the beautiful variety in which a hundred or a thousand rooms can all be roughly fifteen by sixteen, yet no two alike, is destroyed, and replaced by an endless repetition in which hundreds and thousands of rooms are exactly and identically the same. modular panels tyrannize the geometry of the

Andy cannot ing

for board.

the same alive

reasony when

the

details

of a

building

be made

they are drawn at a draw-

T h e details of a building cannot be alive w h e n they are specified in the form of w o r k i n g drawings, because these drawings always assume, for the sake of simplicity, that the various manifestations of a given part are all identical. The person w h o draws a w o r k i n g 461 drawing cannot

THE

WAY

draw each w i n d o w , or each brick, differently, because he has no basis for k n o w i n g the subtle differences which will be required. T h e s e only become clear w h e n the actual building process is already under w a y . So he draws them the same, because he has no reason, sitting at the d r a w ing board, to make them different. B u t if the builder builds according to a detailed d r a w i n g , and is constrained by his contract to make the building exactly like the d r a w ing, he then makes the detail identical, to follow the d r a w i n g a n d in the actual building this becomes dead and artificial.

To make erated according

the building to its

livey

its patterns

must

be

genshape

on the sitey so that each one takes its own context.

Consider, for instance, patterns like COLUMNS AT THE CORNERS or FINAL COLUMN DISTRIBUTION, which give the proper column spacing so that columns act as stiffening for walls, in the most efficient w a y . T o create these patterns correctly the builder makes a room by placing columns at the four corners, and then places extra columns along each wall, at equal spacings, to make column intervals somewhere between 4 and 6 feet, according to the length of the wall, then finally places a beam along each wall, over the columns. T h i s process is an active representation of the patterns. E a c h time the process is used, it will create a slightly different configuration, according to the plan of the room.

462

THE

PROCESS

OF

CONSTRUCTION

E a c h room will have in it the skeleton of columns and beams which embody the same patterns. Y e t , rooms will have exactly the same panel sizes. no two

It is essential, from tailed rough patterns given

therefore, drawings: from the

that

the

builder

build to

only dethe mind.

and that he carry out the drawings according in his language

processes

by the pattern

T h i s is commonplace in nature. W h e n the spider builds its web, the process is standardized; but the parts which are created are all different. E a c h w e b is beautiful, unique, perfectly adapted to its situation. Y e t it is created by a standard process: and there is just one process. It is very simple. Y e t this simple process interacts in an infinite variety of w a y s with different circumstances to produce different particular webs. A n d just so in the building process which I shall now describe. T h e individual processes are standardized, and very simple. B u t the actual parts which are produced are infinitely v a r i o u s t h e y are infinitely different manifestations of the patterns which the processes define.

The

process

for vaults

making which

vaults

is standardbut are unique.

the

individual

it produces

W h a t is standard is the process of w e a v i n g the basket, placing the strips of w o o d , covering with cloth, stiffening the cloth with resin, covering the resined cloth with light-

463

THE weight concrete . . . . local circumstances.

WAY

B u t the actual product, which this

process produces, is different each time, according to the

And again

the process the

for making columns

columns which

is

standardbut are

individual

it produces

unique. Nailing the boards, placing in position, nailing on the beam, filling with c o n c r e t e t h e s e are standard operations. B u t each column that is made this w a y is d i f f e r e n t i t is made by a different person, and reflects that fact. Perhaps one is carved, another colored in an individual f a s h i o n and each is in a different position, has different connections to its surroundings, and is therefore different because of that.

For

concreteness' manner.

sake, I shall which

now give a sequence will produce a

of

construction in this

processes

building

O f course, the sequence of these processes is just an example: it depends on a particular combination of materials. But some similar sequence, with just the same increasing definition, starting rough, and getting more precise as the building gets finished, is necessary.

First, and

stake spaces.

out the corners

of the ground-floor

rooms

T o make sure these stakes are right, it is often helpful to 464

THE

PROCESS

OF

CONSTRUCTION

use large stakes, bamboos, or old bits of w o o d , so that several people can visualize the exact form and size of the rooms, their relation to one another, and their relation to the outdoors around them. W h e r e v e r there are outdoor spaces near the b u i l d i n g terraces, paths, entrances, balconies, arcades, trellises, garden walls . . . stake them out as well, so that you can feel the indoors and the outdoors together. It is very l i k e l y a l m o s t c e r t a i n t h a t you will modify the building as you have so far conceived it. T h e stakes are so vivid that you will almost certainly begin to see all kinds of subtlety, which you could not imagine on the g r o u n d . M o d i f y the position of the stakes, a foot here, a foot there, until they are as perfectly placed as you can imagine; and until the layout of the rooms seems just exactly right. before, n o w that the stakes and rooms are actual, right out there

Erect

the comer given

columns,

and flace

stiffening columns.

columns the

as nearly framework

as possible

at equal

sfacings,

within

by the corner

F o r buildings of different heights, and on different stories, also according to the building height, these intermediate columns need different spacing, because the forces coming d o w n are different. B u t on any one floor, their spacing will be roughly constant. H o w e v e r , on any one floor the spacing is only roughly constant. T h e different rooms have walls of different lengths. Because they are not modular, the spacing of the 465

THE

WAY

intermediate columns is relaxed and natural; it will vary with the exact spacing of the corner columns.

Tie the columns

together,

with perimeter

beams.

T h e s e beams then form the upper edge of every room. T h e y make it possible to visualize the space of the rooms, very clearly; make it possible to put the w i n d o w frames and door frames in position: and most important, they provide the tension ring around each room, which forms the basis for the springing of the individual vaults.

Make public

the beams lowest rooms, rooms.

around

alcoves;

higher

around and

ordinary

and highest

of all round

the big

T h i s will start the process of creating ceiling height variety. T h e alcoves can have beams as low as 5 feet or 5 feet 6 inches; the ordinary rooms as low as 6 feet or 6 feet 6 inches; the larger rooms perhaps 7 feet, 8 feet, or 9 feet. In every case, the belly of the vault will add a foot or two, or even more to the perimeter beam height; accordingly, the extent of the addition will depend on the span of the vault.

Put

in the window

frames

and door

frames.

Y o u already have some rough idea of where you w a n t to put the doors and w i n d o w s , from the conception of the building you have worked out in your mind. B u t now the f r a m i n g of the rooms is up, you can see 466

THE

PROCESS

OF

CONSTRUCTION

just exactly where the openings should go. B y mocking them up, with bits of rough w o o d , you can modify them, and adjust them, until they create the perfect relationship between the inside and the outside, give the right views, the right amount of light in the right places, the right sill heights, the right heights for the doors, and the proper breakdown of the larger openings into smaller ones.

Now

weave

the baskets above each

which room.

will form

the basis

for

the vaults

E a c h room, no matter w h a t its shape, can be roofed with a simple vault, whose f o r m w o r k can be w o v e n out of thin strips of flexible w o o d , perhaps a foot apart. T h i s basket can adapt to all the small irregularities of the room, and can even go round corners if it has to. A n d shape the belly of the vault; it can be shaped to give each room just the ceiling height it needs. F o r structural reasons the vault needs to be roughly one sixth of the span of the vault. B u t this sixth is quite variable, and you may n o w adjust the exact curve of the vault to make the room feel right for just exactly w h a t you will be doing there.

Put in the walls jrames.

between

the columns

and, the

window

T h e s e walls can be made of any simple sheet material: tiles, wood planks, hollow blocks, lightweight sheets and boards, cut and placed so they fill the gaps between the columns and the w i n d o w frames. 467

THE NLake half vaults

WAY goes them.

for the stairs, so that each stair angle in the bays reserved

up at just the proper

T h e stairs can be conceived as lying over vaults. T h e steps will be filled in, over a vault, or pair of vaults, or series of vaulted arches. T h e s e vaulted arches now give the position of the stair.

Trowel forms,

the

concrete

for

the

vaults

onto

the solid.

basket

and fill the walls

to make

them

U s i n g perhaps a lightweight fill, or ultralightweight concrete, trowel a one-inch vault onto the basket forms, after they have been covered with a simple cloth and stiffened; and do the same to fill the walls and columns in one contiguous mass, so that the building becomes three dimensionally rigid.

Now the

start the second first.

story}

by the same procedure

as

Place columns in between the columns which are already there, and place the bottom of these columns-on the vault, where they will be filled by the fill which forms the floor.

Fill

the floor,

to make

it

horizontal.

M a k e up the form boards on the outside of the building, to contain a horizontal floor, poured in above the vaults: and fill the space with voidsjugs, bottles, anything

468

THE

PROCESS

OF

CONSTRUCTION

which will form roughly spherical bubbles in the concrete, and reduce its mass without reducing strength. Complete the second story, just as you have built the first, then do the same for the third if there is one.

Make

the terraces

and seats and balconies

around

the

building. T r e a t them as part of the building, and yet part of the earth. Use terracotta tiles set simply in the earth, with small plants g r o w i n g in between them. Set the tiles in mud, keep it as wet as possible, so that it grips the tiles quite allows plants to g r o w between them. P l a n t a f e w small f l o w e r i n g plants, between the tiles, while you are setting them in m u d , so that after a f e w months, the flowers are y e l l o w , purple . . . firmly, and yet makes the possibility of movement over time, and

Build

individual

doors and windows,

as cheafly right

as you accord-

can, but each one shafed, ing to the frame.

and subdivided

Because of the procedure you have followed in laying out the w i n d o w frames and door frames, all the openings in the building are of slightly different sizes n o w . T h i s is essential, and it means that you cannot use standard doors or windows. N o w nail together simple doors and w i n d o w s . They can be made of simple planks just nailed and glued to-

469

THE

WAY

gether, with small strips to form the subdivision of the w i n d o w panes, routed out to make a rebate for the w i n dow glass.

Carve gaiety.

decorations

in the panels

round

the doors, emphasis

and or

in the other -places where

you want some

Y o u can carve simple scrolls and lines and hearts and dots into the boards which form the outside of the walls. L a t e r , w h e n the building is almost scrolls with plaster. finished, you can fill these

Paint

the walls

white;

leave

the columns

visible.

Plaster in between the splines of basketwork which formed the basis for the vaults, and are still visible below the vault in every room. Plaster in the ornaments which you have carved. Plaster into the holes in those panels where you have cut holes for ornaments. O i l the w o o d ; w a x the floor.

Then,

finally,

the

finished

building time

will have a and that they

rhythm thousands occur.

of the same patterns of times, but different

repeated every

hundreds

T h e r e are not only roughly equal columns, column spacings, arcades, windows, doorways, dormers, roofs, and terraces. T h e s e are the larger patterns which repeat. But there is also a wealth of mouldings, tiles, drips, gutters, 472

THE

PROCESS

OF

CONSTRUCTION

panels, brickwork, edges, door sills, ornaments, small strips, small squares, small cornerstones, column heads, column feet, rings cut in columns, braces, bracing details, nailheads, handles, spacers, sparsely placed, just where they have to be, but visible, so that the building is completed by these smallest structures, and formed by the rhythm of their almost regular irregularities.

The

-picture

on the last two pages built like this.

shows

an

example

of a building

T h i s picture is a photograph of a model. T h e building is a four-story apartment building, for twenty-seven families, in which the members of each family have designed their o w n apartments, using a common pattern language, and the building is then intended to be built, floor by I have just described. A l t h o u g h the model is very rough, it is already possible to see the w a y that the discipline of the construction process interacts with the informality of plan, to produce a building which goes much further towards the quality without a name, than either of the actual buildings shown in chapters 21 and 22. floor, using the system of columns and beams and vaults which

A building and ing. a little

built

like this will always -fluid than

be a little

looser build-

more

a machine-made

Its doors and columns, windows, shelves, wall panels, ceilings, terraces, and balustrades are shaped exactly to take

473

THE

WAY

their part in the larger w h o l e : they fit it perfectly. A n d because they fit it perfectly, they are therefore a little rougher in appearance than the slick machine-smooth quality of buildings made of factory materials.

But is

the beauty whole.

of the building

lies in the fact that it

T h e essential thing is this. E a c h process (given by a pattern) takes the configuration which has been produced by the previous processes, and adapts itself to them. N o matter where the columns are, the process of w e a v i n g a vault can form the vault according of making a w i n d o w according to the position of the columns. N o matter where the edges of a w i n d o w are, the process forms the w i n d o w and its panes to the size and shape of the w i n d o w frame.

A n d it is this which makes the building whole.

The tional tures horse

building, society, Done the

like has

the the

countless simplicity minutes, and essence

buildings of the the

of

tradipencil capof a parts certain a

a rough drawing feeling its

drawing.

in a few a woman the rhythm it is full

wholethe within

in motion, just

bendingbecause of the of feeling, whole. and

are free And whole. roughness.

so with But

the building

now. It has a

it forms

474

CHAPTER

24

T H E PROCESS OF REPAIR
Next, several acts of building, acts, will slowly complex generate. whole each the one

done to repair and magnify of the previous a larger and more any single act can

product generate than

We We

know know

now,

how

a single

act of building can do the carry make

works. for same; out a orin more every ground.

that any person that any group how the

can lay out a building of people can then will

himself; process Now complex

and we know ganic wholey a roWy will

builders which

of constructiony we shall wholey

a unified

out of the stakes marked see how several generate an even

on the and

acts of buildings sure that acts.

m<ore coherent making of the previous

piecemealby to the order

act contributes

In theory, according to chapter

every act of building

is, with respect to its larger context, an act of repair: a part of the much larger process in which several acts together generate the larger wholes from which a building complex or a town is made. B u t so far we have not had an opportunity to see this clearlybecause in chapters 1 9 - 2 3 , we have been paying attention to the individual creative act as an act which makes something n e w . N o w we shall change the focus, and pay attention to each act, as an act of repair, within the larger whole.

No

building

is ever

perfect.

E a c h building, w h e n it is first built, is an attempt to make a self-maintaining whole configuration. B u t our predictions are invariably w r o n g . People use buildings differently from this is. the w a y they thought they would. A n d the larger the pieces become, the more serious

479

THE

WAY

T h e process of design, in the mind's eye, or on the site, is an attempt to simulate in advance, the feeling and events which will emerge in the real building, and to create a configuration which is in repose with respect to these events. B u t the prediction is all guesswork; the real events which happen there are always at least slightly different; and the larger the building is, the more likely the guesses are to be inaccurate.

It is therefore ings, f>en according there.

necessary

to keep

changing which

the

buildhap-

to the real events

actually

A n d the larger the complex of buildings, neighborhood, or town, the more essential it is for it to be built up gradually, from thousands of acts, self-correcting acts, each one improving and repairing the acts of the others.

Suppose,

for instance,

that some like.

corner

of your

house

is not as alive

as you would

F o r example, suppose I look at the house, and realize that its garden is not w o r k i n g properly as a HALF-HIDDEN GARDEN, because although it is to one side of the house, there is not enough protection between the garden and the street. It needs some kind of wall. A n d , suppose that I go further, and bearing in mind that w o r k needs to be done to mend the barrier between the garden and the street, I examine the garden from the point of view of PRIVATE TERRACE ON THE STREET, and 480

THE

PROCESS

OF

REPAIR

find it missing. Suppose that I decide I need to build a small brick terrace, at one side of my house, where it touches the garden, in order to repair this gap. N o w , if I have already decided that some kind of wall needs to be built to protect the garden where it is too open, it is only natural that I shall try to make the missing terrace in some w a y to link it to this missing wall. I n short, when I get a chance to start mending the garden, I can mend both these defective patterns with the same act of building. A n d the repairs I make are not just "repairs," but new designs, complex themselves, between the crevices of the first design.

Or

suppose

that

you

have

built

a small

laboratory

building. It has a kitchen, a library, four labs, and a main entrance. Y o u w a n t to add a fifth laboratory to it, because you need more space. D o n ' t look for the best place right a w a y . First, look at the existing building, and see w h a t is w r o n g with it. T h e r e is a path where tin cans collect; a tree which is a beautiful tree, but somehow no one uses it; one of the four labs is always empty, there is nothing obviously w r o n g with it, but somehow no one goes there; the main entrance has no places to sit comfortably; the earth around one corner of the building is being eroded. N o w , look at all these things which are w r o n g , and build the fifth lab in such a w a y that it takes care of all these problems, and also does, for itself, w h a t it has to do.

481

THE Can you see how will rich and they

WAY various are built the like -parts of thisP the

building

be, when

T h e fifth lab will be unique, unlike any of the other labs. B u t not because you try hard to make it subtle, or beautiful, or arty. It comes about in the most obvious w a y , just because you are trying to be practical. C a n you imagine how hard it is to make one little laboratory, about 20 feet by 20 feet, repair all these different problems at once? It isn't impossible; but to do it you will have to stretch it here, extend it there, give it a special w i n d o w here to make the tree more useful, bring the path around it here, to make the path with the tin cans less deserted, give it a door at just this spot, to help create a pleasant corner in the entrance, where people can wait. So the richness and uniqueness of this little addition comes about in the simplest and most practical w a y possible. It happens almost by itself, just because you pay attention to the defects in the present building, and try hard to repair them.

Each space, it still

act of building, needs more which further whole.

which

differentiates soon by further

a fart

of make

to be followed

acts of

building,

differentiate

the space to

T h i s is commonplace in nature: and indeed, it is just this which always manages to make the parts of nature whole. Consider the leaves on a tree. A t first sight it seems as though the leaves are solid, and the air between the leaves

482

THE

PROCESS

OF

REPAIR

is merely space. B u t the air between the leaves is as much a part of nature as the leaves themselves: it takes on shape as strongly as the leaves themselves; and like the leaves, it is given its shape by the influences which work on it. E a c h leaf has a shape which is determined by the need for strength, the g r o w t h of the material, and the flowing of the sap within the leaf. B u t the air between t w o leaves is given its shape as definitely. If the leaves are too close together, the air between the leaves cannot act as a channel for the sunlight which the leaves need; and there may not be enough breeze there to ventilate the leaves; if the leaves are too far apart, the distribution of the leaves on the twigs and branches is inefficient, and the tree will not get enough sunlight to support it. E v e r y part you look at is not only whole itself, but is part of a larger whole, has wholes around it, and is itself made up entirely of wholes. T h i s is essential to the w a y that nature w o r k s : ajid all of it is generated by the processes of successive differentiations, each one helping to fill gaps, and mend gaps in the whole.

When

things left

are first built, unwhole.

the gaps between

the

parts

are often

In the kind of world w e have today, almost half the places in a building or a town are places "in b e t w e e n " the places where you are meant to be. T h e dark narrow space between t w o houses, the corner of the kitchen which no one can reach, the area between the train tracks and the next door industrythese are

483

THE

WAY forgotten

obvious examples of places which are literally and left over.

A n d there are more remarkable examples, where spaces are actually intended to be left over. T h i n k about streets with cars parked on them, parking lots, long corridors, waiting rooms, the path between the front door and the street, the g a r a g e , the closet underneath the stairs, the bathroom, the windowless front hall of the house. A l l these places are made with the mistaken notion that you are only there in limbo, in between the moments of l i v i n g a s if they were way-stations between the few places where you are actually meant to be alive.

But

these

gaps must

be healed

and made

as whole

as

the parts on either

side of

them.

I n a town or building which is whole, there are no places like this; and in a life which is truly lived, there are no moments like this either. In a life which is truly lived, there are no moments which are "in b e t w e e n " or " o u t of l i f e " e v e r y moment is lived fully. T h e Z e n master says " w h e n I eat, I eat; w h e n I drink, I drink; w h e n I w a l k , I w a l k . " A building or a t o w n which is alive, has the same quality. In a building or a town which is alive, and which supports a life that is fully lived, there are no places which are way-stations between moments of living; every place is made in such a w a y that life can be savored fully there. E v e r y square inch of it has some valuable purpose, and is able to support some moment in a person's life which is

484

THE

PROCESS

OF

REPAIR

truly lived; and for this reason every part of it is whole, and every place between t w o wholes is also whole. Slowly, as the "process of repair" repairs the gaps between the wholes, the structure becomes complete and whole at every level.

This repair.

goes

vastly

beyond

the

normal

conception

of

In the commonplace use of the w o r d repair, w e assume that w h e n we repair something, w e are essentially trying to get it back to its original state. T h i s kind of repair is patching, conservative, static. But in this new use of the w o r d repair, w e assume^ instead, that every entity is changing constantly: and that at every m o m e n t we use the defects of the present state as the starting point for the definition of the n e w state.

When sume wholes which

we repair that will we

something going thaty will repair.

in this new sensey to transform indeedy become the it, entire

we asnew whole whole

are

that

be borny repaired of the

is being

a different

as the result

I n this sense, the idea of repair is creative, dynamic, open. It assumes that we are constantly led to the creation of new wholes, by paying attention to the defects in the existing wholes, and trying to repair them. It is still true that every act helps to repair some larger, older w h o l e : but the repair not only patches i t i t also modifies it, transforms

485

THE

WAY

it, sets it on the road to becoming something else, entirely new.

In this framework, the process ing generates through a

we gain an entirely which a sequence whole.

new

view

of

of acts of

build-

Broadly, w h a t is happening is that there is, at each stage in the life of any part of the environment, a wholeness which is specific to that moment in its life: and that each new act of building, provided that it is done with an eye to making the overall whole still more whole, more alive, will transform that whole, and gradually give birth to new wholes. In this sense, then, the idea of repair explains both how we can mend past defects in things, and also, at the same time, how it is possible to make and remake the world so that the cooperation of a number of acts of building, in sequence, also creates wholes which are complete, and live, at every moment of their h i s t o r y y e t always giving w a y , under the process of repair, to even newer wholes, which once again remake themselves at the next stage of the repair.

In order

to see this clearly, a building

let us imagine growing,

that over

there time.

is somewhere

complex,

Step by step, each act of building, which contributes to the g r o w i n g whole, is also helping to repair or heal w h a t is already there.

486

THE

PROCESS

OF

REPAIR

Specifically, let us imagine a cluster of houses g r o w i n g over time.

Each

house

starts

with

a small with

beginningno of one

more endy

than a family and a kitchen

kitchen, counter.

a bed alcove

A l l in all, no more than 300-500 square feet to start with.

Theny

for

the

first each

few

yearsy

people

add

100-200

square feet more

year.

First a bedroom perhaps; another bedroom; a workshop; a garden terrace; a full bathing room; arcades and fireporches; studio; a bigger sitting room, with a big place; a garden shed. A n d , at the same time common things are also built; they plant an avenue of trees; a small g a z e b o ; a shared outdoor r o o m ; paving on the paths; closed-in garages; a communal workshop; hole. . . . a small fountain or a s w i m m i n g

As

the

buildings

reach

maturityy

the increments

get

smaller. A bench; a sitting w a l l ; a roof over the entrance; a railing on the terrace upstairs; a stair to the roof; a fishpond; a bay w i n d o w ; an extra g a t e ; a vegetable patch; a wall of shelves; a garden seat around the trunk of a g r o w i n g tree. . . .

487

THE Yet, to at the same generate the time, larger

WAY the which houses define begin the

collectively, -patterns

cluster. E a c h person begins to w o r k with his neighbor, first the neighbor on one side, then the neighbor on the other side; and together they try to make the space between their houses beautiful. O f course, they start by eliminating obvious conflicts between w i n d o w s , or cases where one house takes the sun from the next man's g a r d e n ; but they also w o r k out details according to the detailed patterns. F o r example, one group of people decide to make their entrances open off a small public garden, with a tree, and with an outdoor seat in it, facing the sun, and from which people can watch the distant outdoor room, according to the patterns TREE PLACES, OUTDOOR SEATS, and PUBLIC OUTDOOR ROOM. F o r example, path shape says that a path must be a place, almost like a room, partly enclosed, with a middle, so that people feel comfortable staying there, not just w a l k i n g through. E a c h group uses this pattern to make the paths outside their houses better shaped, with seats in them; and the pattern even affects the exact shape of the boundary wall where the houses meet the paths. A n d PRIVATE TERRACE on THE STREET says that each house should have a private terrace, near its living room, but placed so that one can see from it, into the public space of the street beyond, and w a v e or say hello to someone out there, without the privacy of the house being dis-

488

THE

PROCESS

OF

REPAIR

The slow growth of twelve houses

489

THE

WAY

turbed. E a c h of the houses has such a terrace, and the w a y these terraces make the paths alive is also discussed and modified by the groups at each end of the cluster.

Slowly, becomes wholes: is

at every so dense every

level,

the

arrangement part between

of two

wholes the parts,

that there

are no gaps between

part, and every

whole.

I n a house, the garden round the house is positive; the boundaries between house and garden are again positive. The thickness of the walls is positive; the w a l l which forms the enclosure between terrace and garden is again positive; a seat; while the interior walls are places too (shelves, niches, etc.) ; within the house, each room is, of course, a place; but to make this happen, each one has w i n d o w s on two s i d e s w i t h the result that the rooms take on an odd configuration, in p l a n a n d every place between the rooms is once again a place. A t the level of construction, w e find the same. E v e r y room has its corners marked by columns. E a c h column is again a visible coherent thing; the columns which stand free have places around them once again; each column is itself made in such a w a y that the places where it joins other entities, are once again entities: columns and feet.

So,

the

houses

get their

form, from

both acts.

as a group,

and

separately, of a number

as individuals, of small

the gradual

accretion

separate

490

THE

PROCESS

OF

REPAIR

T h e bench is placed, to form a terrace; the extra bedroom helps to shield the garden from the neighborhood; the paving on the path is placed in such a w a y that it defines the entrance transition, and forms a contour edge to help prevent erosion from the rain; the extra growing house helps to form common land outside the house; the avenue of trees helps to form a park in the c o m m o n land; the garages not only shield the cars, but also help to form gateways into the cluster. . . . E v e r y small act helps not only to increase the space, but also makes a contribution to the larger patterns which are needed there. And finally, the common character of the cluster of houses g r o w s , without control, simply from the accumulation of the individual actsbecause each act of building is conceived as something which not only does good for itself, but also has the obligation to help generate the whole.

In chapter

ig

I argued

thai

an organic ting

whole

could

only be created

by a differentia

process.

I explained that only a process of differentiation, because it defines the parts within the whole, can generate a natural thing; because only this kind of process can shape parts individually, according to their position in the whole.

We

see now which

that instead.

there

is a second, the same results,

complementary but works

process piecemeal,

produces

491

t h e

way

W h e n a place g r o w s , and things are added to it, g r a d u ally, being shaped as they get added, to help f o r m larger patterns, the place also remains w h o l e at every s t a g e b u t in this case the geometric volume of the w h o l e keeps c h a n g ing, because there is an actual concrete a g g r e g a t i o n matter taking place. of

This process, like the simple differentiating process, is able to make wholes in which the parts are shaped according to their place. But this process is still more powerful: because it can make groups of buildings which are larger and more complex. And it is more powerful, above all, because it leaves no mistakes: because the gaps get filled, the small things that are wrong are gradually corrected, and finally, the whole is so smooth and relaxed, that it will seem as though it had been there forever. It has no roughness about it, it simply lies there stretched out in time.

492

CHAPTER

25

T H E SLOW E M E R G E N C E OF A TOWN
Finally, within the framework of a common language, millions of individual acts of building will together generate a town which is alive, and whole, and unpredictable, without controlthis is the slow emergence of the quality without a name, as if from nothing.

Finally, then, we come to the town itself. We have seen how a few dozen acts of building, done within a common -pattern language can gradually generate a whole-, and that the larger -patterns which are needed to d.efme that whole, can be created piecemeal, by the slow concrescence of the individual acts. Now we shall see how this same process can be extended to a town.
F o r w e n o w face at last, the deepest and the most farreaching postulate of a l l n a m e l y : the postulate that it is possible for all the large-scale order of a t o w n to be created purely by means of incremental piecemeal acts.

The first thing to recognize is that for any system as vast as a town there is a fundamental problem.
W h e n a single h u m a n mind or a group of minds together conceive a building, they naturally conceive it as a w h o l e , and its parts then fall into place, both to support w h o l e , and also to be whole themselves. B u t w h e n a t o w n g r o w s , it does not g r o w in one human mind, nor in any coherent group of minds. A town is made f r o m millions upon millions of individual acts of building. H o w can w e be.sure that the t o w n will be w h o l e , and not a rambling, incoherent chaos, if it is built f r o m millions upon millions of individual acts? that

The question is: can the structure emerge, simply from the spontaneous interaction of the parts?

496

t h e

slow

emergence

of

town

C a n it be created by a free process, in which the people locally do w h a t they w a n t , and still create successfully? the whole

Or must it be planned, by a hidden hand, according to a blueprint or a master plan?

M u s t there be some kind of control, some kind of totalitarian order, imposed f r o m above, which restricts the freedom of the individual acts, and forces them into a l a r g e scale order?

To put this question in perspective I should like to compare it to a question that arose in the early years of biology: "How does an organism get formed?"
Consider your hand, for example. H o l d it out in front of you. D o y o u realize that this complex shape, this intricate structure of bones, and muscle, fingers, thumb, fingernails, joints, wrinkles, subtle curves, has come into being entirely without the background of a blueprint or a master plan? D o you realize, fully, that the cooperation of the cells has f o r m e d this hand, guided only by certain rules which direct the g r o w t h of the individual cells, according to their interaction with each other? O r consider another example. A s I look out of m y w i n d o w , I see a f e w square yards of flowering bushes there, with grass below them, a tree or t w o sticking out, and a f e w other plants, sitting a m o n g them.

497

t h e

way

I f I look at these bushes, d o w n to the details of their individual leaves, the grains of soil below them, the twigs, the petals of the flowers, the insects sitting on the leaves, the gaps between the leaves, w h e r e l o w e r leaves are open to the sky, do I have to believe that there is a hidden designer w h o has created this?

At first biologists thought that there must be a hidden designer.

T h e y believed that this miracle could not be happening without something to guide it, a spiritual master w h i c h told the cells just w h e r e to place themselves. until the seventeenth century, some biologists even was a model of the larger m a n . plan, Up be-

lieved that every cell in a m a n contained a little m a n , w h o

Yet now it has become clear that the organism is formed purely by the interaction of its cells, guided by the genetic code.
R e c e n t l y , our experiments have begun to make it clear that this seeming miracle is not a miracle of guidance from above, but instead a miracle of subtle organized cooperation b e t w e e n the parts: that the g r o w i n g cells alone, c o m municating with each other, and guided only by the instructions p r o g r a m m e d into them by the genetic code, act correctly, with respect to one another, in such a w a y that they create an entirely individual w h o l e , not predictable in detail, but recognizable in species.

498

t h e

slow

emergence

of

town

And this is true for a town too.

A t one time people believed that a t o w n had to be planned by a planner w h o made a plan or blueprint. I t w a s said that if the order of the t o w n is not created f r o m above, there will just not be an order in the t o w n . A n d so, even in spite of the most obvious evidence of all the beautiful t o w n s and villages built in traditional societies allowed themselves to give up their f r e e d o m . A s in biology, though, it is becoming clear n o w that the structure of a t o w n can be w o v e n m u c h more deeply, more intricately, from the interaction of its individual acts of building within a c o m m o n l a n g u a g e , than it can from a blueprint or a master p l a n a n d that indeed, just like your hand, or like the bush outside m y w i n d o w , it is best generated by the interaction of the rules w h i c h the construction of the parts. govern without master plans, this belief has taken hold, and people have

Let us see in detail, how a process of interacting rules can work to generate a town.
T h e essential fact, w h i c h makes it possible, is that the patterns are not generated, suddenly, completely, but that instead each larger pattern comes into being as the end product of a l o n g sequence of tiny a c t s a n d that these tiny acts themselves have the p o w e r to create the pattern, if they are repeated often e n o u g h .

This is commonplace, in the growth of an organism,

499

t h e

way

where all the larger patterns are generated, merely as the end products of tiny, daily transformations.
A t any given m o m e n t , in a g r o w i n g organism, there is no sense of the " e n d " or of the final " g o a l " of growth. T h e r e is, instead, a process of transformation, which is able to take the present state of the organism, and move it slightly, in the next minute of g r o w t h i n such a w a y that w h e n the same process is then repeated in the minute after that, and in the minute after that, slowly, inexorably, the necessary patterns come into b e i n g n o t a c c o r d i n g to some plan, but as the product of a sequence of t r a n s f o r m ing steps. I n detail, this happens through the action of certain chemical fields, created by the hormones. T h e s e fields encourage and inhibit g r o w t h , at different parts of s p a c e and this differential g r o w t h process then s l o w l y generates the g r o w i n g whole. A c c o r d i n g to the state of these fields at any one m o m e n t , the g r o w t h process creates a certain minute g r o w t h , which transforms the existing structure, just slightly, according to a certain rule. A s the g r o w t h occurs, the chemical fields change, so that the " s a m e " transformation, guided by the Thus, the repeated application of the "same" rule, has a slightly different e f f e c t each time that it occurs. transformation, chemical guided by the c h a n g i n g concentrations in the

fields which tell the organism h o w close it is to reaching equilibrium, guide it towards the finished pattern. B u t the finished pattern is merely the end product of the succession of tiny transformations.

500

t h e

slow

emergence

of

t o w n

And just this too, must also happen in a town.

I n this case, the " c h e m i c a l f i e l d s " are replaced m e r e l y by people's consciousness of the l a r g e r scale patterns, w h i c h provide the rules of g r o w t h . I f people have agreements about these l a r g e r scale patterns, then they can use their k n o w l e d g e of the patterns, and the degree to w h i c h these patterns have been attained, or not, to guide the g r o w t h and the assembly of the smaller patterns. S l o w l y , u n d e r the impact of this g u i d a n c e , the sequence of small-scale transformations will, knowing of its o w n just exactly accord, how or create the l a r g e r patterns, piece by piece: w i t h o u t any individual person necessarily w h e r e these l a r g e r patterns will be in the finished t o w n .

Here, for example, is the way a process of this kind can generate a very large-scale pattern like C I T Y C O U N T R Y FINGERS. A t any g i v e n m o m e n t , the actual b o u n d a r y b e t w e e n the t o w n and the c o u n t r y is a r o u g h u n e v e n c u r v e . Suppose that the t o w n gives local c o m m u n i t i e s incentives encourage where growth just where these curves bulge which outenof

w a r d s ; w h i c h inhibit g r o w t h on the outside of the places the c u r v e bulges i n w a r d s ; and w h i c h even c o u r a g e destruction of buildings, and the re-creation the c u r v e bulges i n w a r d s . U n d e r the impact of these incentives, the bulges will g r o w o u t w a r d s g r a d u a l l y , to f o r m city f i n g e r s ; the " n o n -

open space, on the inside of the c u r v e at those points w h e r e

501

t h e

way

b u l g e s " will stay w h e r e they are, or even g r o w b a c k w a r d s into the t o w n , m a i n t a i n i n g and c r e a t i n g c o u n t r y fingers.

Of

course, in a n y one m o n t h , the actual progress is process, s l o w l y but inexorably the pattern

m i n u t e . B u t that does not m a t t e r . U n d e r the impact of this g r o w t h CITY COUNTRY FINGERS will c o m e into being.

On a slightly smaller scale} the same can happen in a community to generate a PROMENADE.
Suppose, f o r instance, that there is the b e g i n n i n g of a PEDESTRIAN STREET, and PROMENADE, between some c o r n e r w h e r e there is an ice c r e a m store, and c o r n e r w h e r e people g a t h e r in the evenings. T h e c o m m u n i t y n o w m a k e s it clear to all the individual n e i g h b o r h o o d s a r o u n d the line b e t w e e n these points, that they w a n t to e n c o u r a g e the r e m o v a l of car traffic f r o m the paths a l o n g this line, that they hope to see n e w so o n . E a c h n e i g h b o r h o o d , then, f o r m u l a t e s the w a y in w h i c h it can best help the s l o w creation of this P R O M E N A D E comm u n i t y activity locate a l o n g the e m e r g i n g p r o m e n a d e , and another

502

t h e

slow

emergence

of

t o w n

and does so because it will gain f r o m the incentives w h i c h the l a r g e r c o m m u n i t y has in its p o w e r . Suppose, for instance, that one n e i g h b o r h o o d sees that it can create a GATEWAY, w i t h a little SPORTS ACTIVITY, in a place w h e r e the PROMENADE m i g h t r u n . I n o r d e r to create the p r o m e n a d e , they w i l l then build a path, w h i c h m i g h t run in that part of the c o m m u n i t y , past the g a t e w a y w h i c h leads into the n e i g h b o r h o o d , and past the table tennis and local sports. G r a d u a l l y the p r o m e n a d e e m e r g e s f r o m the piecem e a l e f f o r t s of the d i f f e r e n t neighborhoods.

patterns in a local

neighborhood.

C o n s i d e r t w o patterns w h i c h are the responsibility of the local n e i g h b o r h o o d : MAIN GATEWAYS and NETWORK OF PATHS AND CARS. T h e n e i g h b o r h o o d creates incentives, w h i c h e n c o u r a g e the house clusters, and work communities, and individual house o w n e r s , to g e n e r a t e these patterns s l o w l y , piece by piece.

503

t h e

way

O n e y e a r the people in one cluster take d o w n a back f e n c e , and so a path begins f r o m one street, in b e t w e e n t w o clusters, and t o w a r d s a n o t h e r street. T h e n e x t y e a r , a d i f f e r e n t cluster connects its c o m m o n same path, a c t i n g again under area w i t h which that the the incentive

local n e i g h b o r h o o d provides, k n o w i n g that it is in their interest to help to g e n e r a t e this l a r g e r pattern w h i c h the n e i g h b o r h o o d needs.

A n o t h e r year, the people w h o live near the b o u n d a r y of the n e i g h b o r h o o d decide to bridge the street w i t h a pair of small buildings w h i c h help to f o r m a g a t e . O f course, they build this gate in such a w a y that it connects w i t h the e m e r g i n g NETWORK OF PATHS AND CARS. T h i s act does not, in itself, f o r m a complete MAIN GATEWAY. B u t the n a r r o w i n g of the street, w h e r e the t w o buildings have But been built, is clearly the precursor of a g a t e : other smaller acts will f o l l o w it, to m a k e the g a t e w a y c o m p l e t e . m e a n w h i l e , the n e i g h b o r h o o d has a l l o w e d these t w o buildings to e n c r o a c h on the street, because they r e c o g n i z e that the n a r r o w i n g w h i c h this creates w i l l g r a d u a l l y m o v e that c o r n e r of the n e i g h b o r h o o d t o w a r d s a state w h e r e it does

504

t h e

slow

emergence

of

t o w n

h a v e the MAIN GATEWAY w h i c h the w h o l e n e i g h b o r h o o d needs in that quarter.

Each of these processes requires a large group, and a group of smaller groups.
I n this respect they are just like the e x a m p l e of the houses and the cluster of houses, in chapter 2 4 , but e x t e n d e d to a l a r g e r scale. T h e r e the houses act individually, to g e n e r a t e the l a r g e r patterns w h i c h the cluster needs. A n d just so here, but at a l a r g e r scale. T h e clusters act t o g e t h e r , to g e n e r a t e the patterns w h i c h the neighborhood needs. T h e n e i g h b o r h o o d s act t o g e t h e r to create the patterns, w h i c h the c o m m u n i t y needs. A n d the c o m m u n i t i e s act t o g e t h e r to g e n e r a t e the patterns w h i c h the w h o l e t o w n needs.

In order for these processes to cover the whole structure of a town, it is therefore necessary that the town be made up from a hierarchy of groups and land, each one responsible for its own patterns.
A t the l o w e s t level, each individual person o w n s his o w n private space: and is responsible for helping to create the patterns there, a c c o r d i n g to his needs. A t the second level, the family has its o w n land, and its o w n c o m m o n space: and the w o r k g r o u p has the same. T h e families, and w o r k g r o u p s are responsible f o r all the l a r g e r patterns w h i c h are needed f o r the c o m m o n space. A t the third level, each cluster of families or g r o u p s is a w e l l d e f i n e d legal e n t i t y a l e g a l l y workdefined

505

t h e

way

g r o u p w h i c h o w n s its o w n land (that land, w h i c h the families all use together, but w h i c h is not private to any one of t h e m ) a n d is responsible for all the patterns which are needed there. A t the fourth level, the neighborhood, made up of clusters, is again a w e l l - d e f i n e d , legally constituted human group, which once again o w n s that land w h i c h is c o m m o n to its m e m b e r s l o c a l roads, local parks, local kinderg a r t e n s b u t does not o w n the smaller c o m m o n lands the clusters o w n . T h e neighborhood, as a group, is responsible for the patterns in its c o m m o n land. A t the next level again, there are communities, made up of n e i g h b o r h o o d s a g a i n w e l l defined, and legally cons t i t u t e d a g a i n with their o w n c o m m o n land, including larger roads, large public buildings, again responsible for all those patterns w h i c h are needed to serve the w h o l e community. Finally, at the level of the t o w n , there is again a legal entity, again o w n i n g c o m m o n l a n d n o t only those which are specifically used by o w n i n g , as a everyonethe t o w n does n o w , all the streets, all the parks, but o w n i n g very largest ones, and responsible for just those largest patterns w h i c h are needed in this largest c o m m o n land.

And, in order for the larger patterns to come into being, piecemeal, from the aggregation of the smaller acts, it is then necessary that each group is made responsible for helping the next larger group, create the larger patterns which the larger group requires.

506

t h e

slow

emergence

of

t o w n

T h u s , w h e n a person f o r m s his r o o m he is g i v e n specific incentives to help to f o r m the l a r g e r patterns of the household, or w o r k s h o p in w h i c h his r o o m is p l a c e d : so COMMON AREAS AT THE HEART, A ROOM OF ONE'S OWN, INTIMACY GRADIENT, BUILDING EDGE, POSITIVE OUTDOOR SPACE, WINGS OF LIGHT, will g r a d u a l l y e m e r g e . A n d w h e n m e m b e r s of a f a m i l y build or m o d i f y their house, they are g i v e n specific incentives by the cluster, w h i c h m a k e s t h e m responsible for i m p r o v i n g the e n v i r o n m e n t a r o u n d t h e m a b o v e t h e m , b e l o w t h e m , and to the side: so BUILDING COMPLEX, CIRCULATION REALMS,

HALF-HIDDEN GARDEN, SMALL PARKING LOTS, SHIELDED PARKING, FAMILY OF ENTRANCES, w i l l g r a d u a l l y e m e r g e u n d e r the responsibility of the cluster. W h e n each cluster modifies its o v e r a l l f o r m , or builds on, it is responsible to the neighborhood for bringing l a r g e r n e i g h b o r h o o d patterns into b e i n g : NEIGHBORHOOD BOUNDARY, MAIN GATEWAY, GREEN STREET, POOLS AND STREAMS, CHILDREN'S HOME, LOOPED LOCAL ROAD, HOME WORKSHOPS, SCATTERED WORK, QUIET BACKS. The n e i g h b o r h o o d can give m o n e y , or other incentives, to enc o u r a g e those small acts w h i c h help to b r i n g these l a r g e r patterns into being. T h e l a r g e r c o m m u n i t y can in the same w a y give both m o n e y and permission to those n e i g h b o r h o o d s w h i c h help bring its e v e n larger patterns ROADS, into being: ACCESSIBLE SHOPPING GROUND, will GREEN, PARALLEL PROMENADE,

STREET, MOSAIC OF SUBCULTURES, SUBCULTURE BOUNDARY, SCATTERED WORK, SACRED SITES, HOLY HEALTH CENTERS. Again, these larger patterns

507

t h e emerge according to the

way voluntary cooperation of the

neighborhoods, ECCENTRIC NUCLEUS, DENSITY RINGS . . . E v e n at the v e r y largest levels, the region and the city can provide incentives w h i c h will e n c o u r a g e these c o m munities to m o d i f y their o w n internal structure in a w a y w h i c h helps the largest patterns to a p p e a r : NETWORK OF TRANSPORTATION, RING ROADS, CITY COUNTRY FINGERS, LOCAL TRANSPORT AREAS, AGRICULTURAL VALLEYS, ACCESS TO WATER, SACRED SITES . . .

Under these circumstances, it is certain that every fattern will appear at the level where it is needed.
T h e small patterns p r o d u c e d directly by the individuals, and repeated over and again. T h e l a r g e patterns g e n e r a t e d indirectly, by the g r a d u a l i n c r e m e n t a l smaller patterns. repetition of the

But it is never certain just exactly where a given pattern will appear.
N o r is it certain just w h a t f o r m a n y one pattern will take, in a n y one particular place. W e k n o w , ahead of time, w h a t g e n e r a l f o r m it has. B u t w e do not k n o w its e x a c t f o r m , its e x a c t d i m e n sions, its detailed c h a r a c t e r , until it has g r o w n to m a t u r i t y b e c a u s e it f o r m s itself, in the process of g r o w t h , and it is only g r o w t h itself, in response to the details of its surr o u n d i n g s , w h i c h can shape it c o r r e c t l y . I n this sense it is like the n a t u r a l order of an oak tree.

508

t h e

slow

emergence

of

town

The -final shape of any one particular oak tree is unpredictable.

When to go. W e k n o w in general that it will have the overall form of an oak, because its g r o w t h is guided by the pattern l a n g u a g e for an oak tree (its genetic c o d e ) . B u t it is unpredictable, in detail, because each small step is shaped by the interaction of this language with external forces and c o n d i t i o n s r a i n , w i n d , sunlight, the composition of the earth, position of other trees and bushes, the thickness of the leaves on its o w n branches. the oak tree grows, there is no blueprint, no

master plan, w h i c h tells the t w i g s and branches w h e r e

And a town which is whole, like an oak tree, must be unpredictable also.
T h e fine details cannot be k n o w n ahead of time. W e m a y k n o w , from the pattern l a n g u a g e w h i c h is shared, w h a t kind of t o w n it will be. B u t it is impossible to predict its detailed plan : and it is not possible to make it g r o w according to some plan. I t must be unpredictable, so that the individual acts of building can be free to fit themselves to all the local forces which they meet. T h e people of a t o w n m a y k n o w that there is g o i n g to be a main pedestrian street, because there is a pattern which tells them so. B u t , they cannot k n o w just w h e r e this main pedestrian street will be, until it is already there. T h e street will be built up from smaller acts, w h e r e v e r

509

t h e

way

the opportunity arises. W h e n it is finally m a d e , its f o r m is partly given by the history of happy accidents w h i c h let the people build it a l o n g with their o w n more private acts. T h e r e is no w a y of k n o w i n g , ahead of time, just w h e r e these accidents w i l l fall.

This process, exactly like the emergence of any other form of life, alone produces a living order.
I t is a process by w h i c h the small acts of individuals, almost r a n d o m , are sieved and harnessed, so that w h a t they create is orderly, even though the product of confusion. I t creates order, not by f o r c i n g it, nor by imposing it upon the w o r l d ( t h r o u g h plans or d r a w i n g s or components) : but because it is a process w h i c h d r a w s order f r o m its s u r r o u n d i n g s i t allows it to come together. B u t of course, by this means far more order can come into being, than could possibly come into being through an invented act.

It is vastly more complex than any other kind of order. It cannot be created by decision. It cannot be designed. It cannot be predicted in a plan. It is the living testament of hundreds and thousands of people, making their own lives and all their inner forces manifest. And, finally, the whole emerges.

510

CHAPTER ITS AGELESS

26

CHARACTER

And as the whole emerges, we shall see it take that ageless character which gives the timeless way its name. This character is a specific, morphological character, sharp and precise, which must come into being any time a building or a town becomes alive: it is the physical embodiment, in buildings, of the quality without a name.

If you follow the way of building which I have described in the last twenty-five cha-pters, you will find that the buildings which emerge will, gradually, and of their own accord, take on a certain character. It is a timeless character.
L o o k at the d r a w i n g s of buildings which people have Daro, five

made with pattern languages on this page and the next. T h e y could be R o m a n , Persian, f r o m M o h e n j o f r o m medieval Russia, Iceland, A f r i c a . T h e y thousand years from n o w . might be

five hundred years old, or five thousand, or built

Willy

nilly, without

realizing w h a t

they are

doing,

without k n o w i n g its significance, people make

buildings

which are far more like the countless towns and buildings of vanished cultures, and ages past, than any of the buildings w h i c h are being built today.

517

t h e

way

In short, the use of languages does not just help to root our buildings in reality; does not just guarantee that they meet human needs; that they are congruent with forces lying in themit makes a concrete difference to the way they look.
I n order to make this precise, let me distinguish t w o different morphologies. 518

its

ageless

c h a r a c t e r

I m a g i n e that w e sort the buildings of the w o r l d into o o t w o piles. I n the one pile, all those traditional buildings, built for thousands of years, in traditional societies all o v e r the w o r l d . A n d , in the o t h e r pile, all those buildings built in the last h u n d r e d years, built by totalitarian t e c h n o l o g y , by i n d u s t r y . A l t h o u g h the buildings and t o w n s in the first pile have vast variety of d i f f e r e n t f o r m s b r i c k houses, s t r a w huts, stone vaults, timber f r a m i n g , t h a t c h e d roofs, l o g cabins, piled dry stone walls, stone columns, steep roofs, flat wide comroofs, a r c h e d streets, mon. I t is a particular m o r p h o l o g i c a l c h a r a c t e r . A n d when open w i n d o w s , straight w i n d o w s , compounds, closed brick, streets, wood,

stone, w h i t e , blue, b r o w n , y e l l o w , n a r r o w

courtyardsstill

pared w i t h the o t h e r pile, they h a v e s o m e t h i n g in c o m -

buildings are m a d e in the f r a m e w o r k of the timeless w a y , they a l w a y s h a v e this special c h a r a c t e r .

This character is marked, to start with, by the fatterns underlying it.

L o w b u i l d i n g s ; open stairs l e a d i n g to upper tables w i t h communal eating; roofs which floors; are long either

pitched or d o m e d , l a r g e a n d visible, or else used as t e r r a c e s ; r o o m s placed so that the light floods into t h e m f r o m t w o sides at least; g a r d e n s m a d e for s m e l l i n g and t o u c h i n g flowers not only seeing t h e m ; w a t e r still a n d m o v i n g ; arcades along the e d g e of buildings; porches between squares, buildings a n d g a r d e n s ; small public a n d private

w i t h a r c a d e s a n d porches at their e d g e s ; galleries at upper

519

t h e

way

levels; columns at the corners of the rooms and spaces; ceilings at different heights according to the intimacy of rooms; small alcoves at the edges of rooms; trellises covered by roses and vines; walls in which possessions and decorations show the character of life and fill the room with it; communities separated f r o m one another by substantial boundaries, so that each one can live in its o w n w a y , unhampered by the others.

It is marked by greater

differentiation.

I f w e compare these buildings with the buildings of our present era, there is m u c h more variety, and more detail: there are more internal differences a m o n g the parts. T h e r e are rooms of different sizes, doors of different widths, columns of different thickness according to their place in the building, ornaments of different kinds in different places, gradients of w i n d o w size f r o m floor to floor. T h e r e are small rooms opening off larger r o o m s ; there are swellings at the places where paths m e e t ; there are enl a r g e m e n t s of the connection w h e r e a c o l u m n meets a b e a m ; there are more highly differentiated kinds of w o o d pieces in a w i n d o w to correspond to the divisions between large panes and small. T h o u g h most of the rooms are r e c t a n g u l a r , there are a f e w circular, or elliptical, or odd-shaped polygons, mixed in a m o n g the rectangles. E d g e s between a d j a c e n t places are a l w a y s places in themselves; they have a thickness, there is a crinkled character to t h e m ; it is almost never just a plane between t w o voids. T h e r e are openings be-

520

its

ageless

c h a r a c t e r

t w e e n each space, and the ones next to it; and these openings occupy a fairly large percentage of the w a l l area. C u r v e d lines and surfaces are r a r e ; but they occur occasionally, at points of emphasis. C o l u m n s are thick, and often bunched or clustered. Paths are often slightly crooked, streets often taper, with minor bends in them. T h e character is m a r k e d , in short, by greater differences, and greater differentiation.

But it is marked, above all, by a sfecial balance between "order" and "disorder."
There is a perfect balance b e t w e e n straight lines equal and and

crooked ones, between angles that are square, and angles that are not quite square, between unequal spacing. T h i s does not happen because the buildings are inaccurate. It happens because they are more accurate. T h e similarity of parts occurs because the forces which create the parts are a l w a y s more or less the same. B u t the slight roughness and unevenness a m o n g these similarities, comes f r o m same. T h e straight lines which are r o u g h l y straight, will come about because the boundary of a space must a l w a y s have a space which is alive on both sides of it. A curved wall forms a concavity of space on its outside, w h i c h tends to destroy space. B u t the straight w a l l s are not perfectly straight, because there is no reason for them to be perfect. T h e angles which are roughly square will come about because f e w angles in a room, or in the edges of an outthe fact that forces are never exactly the

521

t h e

way

door area are comfortable if they are acute. B u t they are not perfectly square, because there is no reason for them to be perfect.

And it is markedy in feeling, by a sharpness and a freedom and a sleepiness which happens everywhere when men and women are free in their hearts.
A f e w cups and glasses standing on a rough table, a handful of flowers freshly picked f r o m the garden on the table, the notes of an old piano, children playing in the corners.

It is not necessarily complicated. It is not necessarily simple.

M a n y students, w h e n they first try to create this character, create a tortured intricacy. B u t this is almost the opposite of the true character. I n order for a place to have this character, it does not necessarily have hundreds of small angles, f u n n y corners, and so on. Sometimes, it is perfectly regular.

It comes simply from the fact that every part is whole in its own right.
I m a g i n e a prefabricated w i n d o w w h i c h sits in a hole in a wall. I t is a one, a unit; but it can be lifted directly out f r o m the w a l l . T h i s is both literally true, and true in feeling. L i t e r a l l y , you can lift the w i n d o w out w i t h o u t doing d a m a g e to the fabric of the w a l l . A n d , in y o u r imagina-

522

its

ageless

c h a r a c t e r

tion, the w i n d o w can be removed without disturbing the fabric of w h a t surrounds it. C o m p a r e this with another w i n d o w . I m a g i n e a pair of columns outside the w i n d o w , f o r m i n g a part of the w i n d o w space. T h e y create an ambiguous space w h i c h is part of the outside, and yet also part of the w i n d o w . I m a g i n e splayed reveals, w h i c h help to form the w i n d o w , and yet, also, with the light reflected off them, shining in the room, they are also part of the room. A n d imagine a w i n d o w seat whose back is part of the w i n d o w s i l l n o t a seat leaning against the w i n d o w sill, but a seat whose back is indistinguishable from the w i n d o w sill, because it is continuous. T h i s w i n d o w cannot be lifted out. I t is one with the patterns w h i c h surround it; it is both distinct itself, and also part of them. T h e boundaries between things are less m a r k e d ; they overlap with other boundaries in such a w a y that the continuity of the w o r l d , at this particular place, is greater.

This character emerges whenever world is healed.

any fart

of the

E a c h thing is made of parts, but the parts overlap and interlock to such an extent that the oneness of all things becomes more m a r k e d . T h e r e are no gaps between the parts, because each gap is just as m u c h a part itself. A n d there are no clear divisions between levels in the structure, because, to some extent, each part reaches d o w n , and is continuous and integral with smaller units of structure,

523

t h e

way their

w h i c h , once again, cannot be lifted out, because

boundaries overlap, and are continuous with larger units.

It is therefore the most fundamental mark of health and- life in our surroundings.
U n d e r the guidance of a process w h i c h allows w h o l e s to f o r m , at the scale of individual persons, families, gardens, trees, forests, walls, kitchen counters, each part becomes whole in its o w n terms, because it is adapted to the larger wholes which it is part of, and because it is adapted to the smaller w h o l e s w h i c h are a part of it. Then the w o r l d becomes o n e t h e r e are no rifts because each part is part of larger wholes, and smaller, there is a continuum of order, w h i c h leaves the parts indistinct, and unified.

Outwardly this character reminds us of the buildings of the fast.

Y o u can see this in the historical plans at the beginning of the chapter. T h e y too, all have this inner relaxation. T h e y too all have the balance of order and disorder; the gentle rectangles, distorted slightly, w h e r e v e r the building or the land require it; they too all have the subtle balance of small spaces and open spaces; the unity w h i c h happens w h e n each part, inside or outside, is a part with its o w n solid shape; they all have the slightly rambling, innocent appearance, which shines through the tighter order, and lets us feel at peace.

524

its

ageless

c h a r a c t e r

I f w e think carelessly, w e may imagine that this gentle character comes merely f r o m the fact that they were made i n f o r m a l l y , without machines, and s l o w l y over time. B u t the truth is that this character arises in these buildings not because of history, or because the processes w h i c h built them w e r e so primitive. T h e s e buildings have this character because they are so deep, because they w e r e made by a process w h i c h a l l o w e d each part to be entirely one with its surroundings, in w h i c h there is no e g o left, only the gentle persuasion of the necessities.

Yet this character cannot be generated by a ferson yearning for the ancient fast.
I t happens simply because w h e n you understand as much about the forces w h i c h surround us as a person with a living pattern l a n g u a g e does, and w h e n you build a c c o r d ing to these m o d e r n ones. W h a t looks at first sight like an accidental quality w h i c h marks the t o w n s and villages of the past, turns out to be the most f u n d a m e n t a l physical property of the w o r l d w e live in. forces, the kinds of buildings which you make, are simply more like ancient buildings than like

It is simfly the character of buildings which re-fleet the forces in them froferly.
T h e prismatic buildings of our o w n time, the buildings built with the simple geometry of cubes, and circles,

525

t h e

way

spheres, and spirals, and rectangles; this g e o m e t r y is the na'i've order, created by the childish search for order. W e happen to think of this order as the proper order for a building, because w e have been taught to think so; but w e are w r o n g . The proper order for a building or a t o w n , which comes about w h e n buildings are correctly fitted to the forces in them, is a m u c h richer order, with a far more complex g e o m e t r y . B u t it is not merely rich and c o m p l e x ; it is also very specific. A n d it will show itself, under any circumstances, w h e r e buildings are actually correct. W h e n ever anyone m a n a g e s to make a building w h i c h is alive, it will have this specific character, because that is the only character which is compatible with life.

When I myself first started, to make buildings this character, the character amazed me.

with

A t first, I w a s afraid that I must really be a conservative at heart and that I w a s unconsciously striving to re-make the past. B u t then I read a passage in an ancient Chinese painting m a n u a l t h e M u s t a r d Seed G a r d e n m a n u a l of painti n g w h i c h made the situation clear to me. T h e writer of that manual describes h o w , in his search for a w a y of painting, he had discovered for himself the same central w a y that thousands of others like him had also discovered for themselves, t h r o u g h o u t the course of history. H e says that the more one understands of painting, the more one recognizes that the art of painting is

526

its

ageless

c h a r a c t e r

essentially one w a y , w h i c h will a l w a y s be discovered and rediscovered, over and over again, because it is connected with the very nature of painting, and must be discovered by anybody w h o takes painting seriously. T h e idea of style is meaningless: w h a t w e see as a style (of a person or of an a g e ) is nothing but another individual e f f o r t to penetrate the central secret of painting, w h i c h is given by the T a o , but cannot itself be n a m e d . T h e more I learn about t o w n s and buildings, the more I feel the same thing to be true. I t is true that m a n y of the historic styles of building have some quality in c o m m o n t h e y have it not because they are old, but because m a n has, over and over again, approached the secret w h i c h is at the heart of architecture. I n fact, the principles w h i c h make a building good, are simple and direct they follow directly f r o m the nature of h u m a n beings, and the laws of n a t u r e a n d any person w h o penetrates these l a w s will, as he does so, come closer and closer to this great tradition, in w h i c h man has sought for the same thing, over and over again, and come a l w a y s to the same conclusions.

And it is because this same morfhology, underlying all things, will always arise in the endthat the timeless way of building is a truly timeless one.
A s you learn to make buildings more and more alive, and thereby more and more true to their o w n nature, you will inevitably approach this timeless character. T h e s e are the forms w h i c h m a n has found, time and

527

t h e

way

time again, as he approaches the heart of building. A s the acts of building in a c o m m u n i t y are governed more and more by a c o m m o n pattern l a n g u a g e , they will more and more closely create and re-create began. the body of timeless forms w h i c h have been part of architecture since society

The timeless character of buildings is as much a fart of nature as the character of rivers, trees, hills, flames, and stars. Each class of fhenomena in nature has its own characteristic morfhology. Stars have their character; oceans have their character; rivers have their character; mountains have their character-, forests have theirs; trees, flowers, insects, all have theirs. And when buildings are made froferly, and true to all the forces in them, then they too will always have their own specific character. This is the character created by the timeless way. It is the fhysical embodiment, in towns and buildings, of the quality without a name.

528

THE KERNEL THE OF WAY

A n d yet the timeless way is not complete, and will not f u l l y generate the quality without a name, until we leave the gate behind.

CHAPTER

27

T H E K E R N E L OF T H E WAY
Indeed nothing, guages. this ageless character and the has lanprocesses the remind again, opinions, our-

in the end, to do with The language,

which stem from it, merely fundamental They

release

order which is native to us. and of what

do not teach us, they only time and time

us of what we know already, we shall discover and do exactly selves.

when we give uf our ideas and what emerges

from

From though simfly have from though use of And process stirs

what the

you life have

have when

read they

so far, and are living,

it may the can be

seem

as

of buildings,

timeless If the what simfly

charcreated people emerges as the any which be at so the by

acter they

by the use of pattern a living their the life language, of towns acts of building

languages. that will

it seems

be alive;

it seems

can be created

languages. yet, we wonder, really heart doubts generate of the can it be so simfle? the nameless Can There any quality theory Can

nature?

powerful? These center are right. till is a kernel teaching, of the timeless way, a central now. which

I have not described

T h e essence of this kernel is the fact that w e can only make a building live w h e n w e are egoless. Imagine, for example, blue tiles, white fountains, birds nests under woodwork. O r n a m e n t s around the edge of the roof, red flowers in bushes round the entrance, great windows, filled with cushions, flower pots where seedlings are g r o w i n g , and a broom hanging on the w a l l . . . pinnacles high in the sky, the vaults of the building catching the light of the sun, deep shadows in the alcoves around edge. T h e beauty of this place, the quality in it which touches us, the thing which makes it live, is, above all, that it is carefree, that it is innocent. the building the arcades, yellow paint, fresh scrubbed

535

THE This innocence estly forget

KERNEL

OF T H E

WAY hon-

will only come about when people themselves.

I t goes without saying that the vast steel and glass and concrete structures of our famous architects do not have this quality. I t goes without saying that the mass-produced development houses, built by big developers, do not have this quality. B u t it is true that even the more " n a t u r a l " architects, like F r a n k L l o y d W r i g h t and A l v a r Aalto, also do not reach this quality. A n d it is also true that the " f u n k y " relaxed hippy-style architecture, with irregular redwood quality. T h e s e places are not innocent, and cannot reach the qualify without a name, because they are made with an outward glance. T h e people w h o make them make them the w a y they do because they are trying to convey something, some image, to the world outside. E v e n w h e n they are made to seem natural, even their naturalness is calculated; it is in the end a pose. facades, and oldfashioned country style interiors, also does not reach this

In case you think time} and searching century,

that I am simply I know which

refecting are entirely innocence.

my like to of

own tell the

for the past, I should and have this

you about two places twentieth

O n e is a fruit stand, on a country road, not far from here. I t is a simple shelter, made of corrugated iron and ply-

536

THE

KERNEL

OF T H E

WAY

w o o d i t has no purpose whatsoever, except to protect the fruit. T h e other is the deck of a fishing boat, in the North Sea. It is a simple diesel-engined fishing boat, perhaps a 40-foot boat. T h r e e Danish brothers fish from it. In one corner there is always a huge pile of empty beer bottles, perhaps 3 or 4 feet high; they drink continuously while they are at sea, and while they are in port. T h e s e t w o places have a little of the innocence and egolessness which is necessary to the quality without a name. A n d w h y ? Because the people w h o made them simply do not care w h a t people think of them. I don't mean that they are defiant: people w h o defiantly don't care w h a t other people think of them, they still care at least enough to be d e f i a n t a n d it is still a posture. But in these t w o cases, the fruit stand, and the deck of that fishing boat, the people did not care w h a t other people t h o u g h t ; and they also do not care about the fact that they don't care. It means nothing to them. T h e y only do exactly w h a t they have to do to take care of their situation.

And

of course,

there

are larger

examfles

too.

A concrete yard, or a steel mill, w h e r e there is no desire to impress at all, only the need for things to w o r k . . . that sometimes has this quality. A farmyard has it often, for the same kind of reason; or a n e w cafe, where the owners have too little money to do anything to impress, and concentrate only on making their customers feel comfortable, in the true sense, with a bare minimum. A n d , of course, sometimes it exists too in a house, built

537

THE

KERNEL

OF T H E

WAY

some time ago, the flowers round the house, the rambling trellises, looked after with patience, hidden behind a great wall, not visible, done only out of love and out of the desire to live, and let the roses bloom.

To make

a building

egoless,

like this, the builder and start with a

must void.

let go of all his willful

images,

Architects sometimes say that in order to design a building, you must have " a n i m a g e " to start with, so as to give coherence and order to the whole. But you can never create a natural thing in this state of mind. If you have an i d e a a n d try to add the patterns to it, the idea controls, distorts, makes artificial, the w o r k which the patterns themselves are trying to do in your mind. Instead you must start with nothing in your mind.

You

are able to do this only when will happen, images.

you no longer

fear afford

that nothing

and you can therefore

to let go of your

A t first, w h e n you are still unsure that a pattern language will genuinely generate forms inside your mind, you hang on, tight, to all the images you have, because you are afraid that without them, there may be nothing left. O n c e you learn that the pattern language and the site together, will genuinely generate form inside your mind, from nothing, you can trust yourself to let go of your images entirely. For a person w h o is unfree, the language seems like mere

538

THE

KERNEL

OF

THE

WAY

information, because he feels that he must be in control, that he must inject the creative impulse, that he must supply the image which controls the design. B u t once a person can relax, and let the forces in the situation act through him as if he were a medium, then he sees that the lang u a g e , with very little help, is able to do almost all the w o r k , and that the building shapes itself. T h i s is the importance of the void. A person w h o is free, and egoless, starts with a void, and lets the language generate the necessary forms, out of this void. He overcomes the need to hold onto an image, the need to control the design, and he is comfortable with the void, and confident that the laws of nature, formulated as patterns, acting in his mind, will together create all that is required.

At

this

stage,

the

buildings

life

will

come

directly

from

your

language.

A man w h o is not afraid to die, is free to live because he is open to w h a t happens next, and is not always killing it by trying to control it. In the same w a y , the language and the building it creates begins to come to life w h e n I begin to be relaxed about w h a t happens next. I can w o r k within the order of the language, without w o r r y i n g about the patterns which are coming later, because I am sure that, no matter w h a t happens, I will always be able to find a w a y of bringing them into the design, w h e n I come to them. I don't need to take precautions in advance. W h y am I so sure that I can always find a w a y of bringing in the smaller patterns? B e -

539

THE

KERNEL

OF T H E

WAY

cause I don't care w h a t shape the finished building or its details h a v e p r o v i d e d only they are natural. I have no preformed mould that I am trying to pour the patterns into; I don't mind how strange, how curious, the building turns out to be, if I can only satisfy the patterns. Sometimes a willow tree which g r o w s in an a w k w a r d corner of a garden, ends up bulging and twisted, as it fits itself to the forces in the garden. B u t it is no less natural, no less free. If a building which I make turns out bulging and twisted it will be no less free than the willow tree. A n d it is because of this, because I am not afraid of these deformities, that I can always take the patterns in the order of the l a n g u a g e ; and because of this that I can always make a building which is natural and free, like the wild willow.

Yet, will

at the very moment generate to see how begin

when

you first relax, your language

and is.

let you

the language

the buildings limited

in your mind,

O n c e you realize that the only thing which matters is the reality of the situation which surrounds the building, and not your images of it, you are able to relax, and allow the patterns of the language to combine themselves freely in your mind, without trying to impose an artificial image on their combination. B u t at the same moment, you will begin to realize that the reality of the situation is not only more important than your images, but also more important than the language too. T h e language, no matter how useful or how power-

540

THE

KERNEL

OF

THE

WAY auto-

f u l , is fallible, and y o u c a n n o t a c c e p t its patterns

m a t i c a l l y , or hope that they will e v e r g e n e r a t e a l i v i n g t h i n g m e c h a n i c a l l y b e c a u s e , once a g a i n , it is o n l y the e x tent to w h i c h y o u yourself b e c o m e o r d i n a r y a n d n a t u r a l , that in the end d e t e r m i n e s h o w w h o l e the building can b e c o m e . n a t u r a l , and free, a n d

One dead.

flace

can have

"good"

patterns

in ity and

yet

be

F o r instance, it so happens that there is a little square in San F r a n c i s c o w h i c h has f o u r p a t t e r n s in it. T h e square is small; there is a BUILDING THOROUGHFARE; there are ACTIVITY POCKETS in it; and there are STAIR SEATS. B u t each of these patterns is subtly w r o n g . T h e space is small y e s . B u t it is placed in such a w a y that it will n e v e r be used, so the density of pedestrians w i l l still be too l o w t h e point of the SMALL P U B L I C SQUARE, to m a k e the place feel f u l l , is missing. T h e r e is a BUILDING THOROUGHFARE t h r o u g h the place, l e a d i n g into a b u i l d i n g y e s . B u t there are no places for i n v o l v e m e n t a l o n g this path, so the path b e c o m e s i r r e l e v a n t , a n d helps n o t h i n g c o m e to life. T h e r e are ACTIVITY POCKETSyesthere are small corners placed a r o u n d the edge of the square. B u t t h e y are so themthey

placed that no activity could e v e r g a t h e r in

have the w r o n g relationship to the paths of access. A n d the places w h e r e people would, n a t u r a l l y g a t h e r , if t h e y c o u l d , are obstructed by stairs, a n d barriers. T h e square has these patterns in i t b u t it still f a i l s b e cause in each case the point of the p a t t e r n , the spirit of the

541

THE

KERNEL

OF T H E

WAY

pattern, is missing. F o r the man w h o made this square, these patterns were empty formal tools, which didn't help the place to come alive at all.

Another

place can be without be alive.

the patterns

which

apply

to it, and yet still

F o r the same square could also not have these patterns in it, and yet be whole. Suppose the square is l a r g e p a r t of it could be treated like a p a r k a n d the corner of it where people are most likely to gather, made into a small, partly enclosed space. T h i s would be in the spirit of SMALL PUBLIC SQUARE, but without following the letter. Suppose there is no w a y of making a path go through the square for BUILDING THOROUGHFAREthen it would be possible to put a children's playground, or a grove of trees, at the back, and t w o activity pockets, right on the street. T h i s would be in the spirit of BUILDING THOROUGHFARE, by using the street itself as a tangent t h o r o u g h f a r e b u t again without following the letter of the pattern. So long as you are using patterns slavishly, mechanically, they will interfere with your sense of reality, as much as any other images. Y o u will be able to use them properly, only at that moment w h e n you have the proper disregard for them.

So paradoxically building the very patterns

you learn which

that you can only you.

make

live when

you are ]ree enough are helping

to reject

even

542

THE

KERNEL

OF T H E

WAY

A n d , in the end, the buildings will become alive only w h e n the person w h o uses the language is himself egoless and free. O n l y then will he be able to recognize the forces as they really are, instead of being overawed by images. But at that moment he no longer needs the language. O n c e a person has freed himself to such an extent, that he can see the forces as they really are, and make a building which is shaped by them alone, and not affected or distorted by his i m a g e s h e is then free enough to make the building wfthout patterns at allbecause the knowledge which the patterns contain, the knowledge of the w a y the forces really act, is his.

It may seem then.

to you that pattern

languages

are

useless

If it is true that you cannot make a building live, even with the help of a pattern language, unless you are first egoless and f r e e ; and if it is also true that once you have reached this state of freedom, you will be able to make a living thing, no matter how you do it; it seems to follow then that the pattern language is useless.

But it is just become

your

-pattern

language

which

helps

you

egoless.

T h e patterns in a living language are based on fundamental realities, which everyone already knows, in his innermost self. Y o u k n o w that small alcoves, arcades, low ceilings, opening w i n d o w s , sheltering roofs, make funda-

543

THE

KERNEL

OF

THE

WAY

mental s e n s e a n d you forget it only because our society has filled your mind with other distorting images. The language only shows you w h a t you yourself already k n o w . T h e language is able to awaken you to your o w n innermost feelings, and to w h a t is true. G r a d u a l l y , by following the language you feel free to escape from the artificial images which society has imposed upon you. A n d , as you escape from these images, and the need to manufacture things according to these images, you are able to come more into touch with the simple reality of things, and thereby become egoless and free.

The language you permission your world innermost is trying

frees you to be yourself, to do what is natural, feelings to suppress about them.

because

it

gives you the

and shows while

building

O n e student of architecture, here in Berkeley, his mind filled with the images of steel frames, flat roofs, and modern buildings, read the ALCOVE pattern, then came to his teacher and said, in w o n d e r m e n t : " I didn't know w e were allowed to do things like this." Allowed! T h e more I watch our pattern language being used, the more I realize that the language does not teach people new facts about their environment. It awakens old feelings. It gives people permission to do w h a t they have always k n o w n they wanted to do, but have shunned, in recent years, because they have been frightened and ashamed by architects w h o tell them that it is not " m o d e r n . " People are afraid of being laughed at, for their ignorance about " a r t " ; and it is this fear which makes them

544

THE

KERNEL

OF T H E

WAY

abandon their o w n stable knowledge of w h a t is simple and right.

A language seemed

gives

you trivial

back your things.

confidence

in

what

once like

T h e first t h i n g s t h e innermost secret likes and dislikes w e h a v e a r e fundamental. W e give them up, and try to be important, and c l e v e r because w e are afraid that people will laugh at us. T h e SHELTERING ROOF, for instance, is so full of feeling, that m a n y people daren't admit it. A language will allow this inner thing, which carries feelings, to guide your acts.

At this final stage, tant: the patterns real. what is

the patterns have taught

are no longer you

importo

to be receptive

It is no longer the pattern ALCOVE which tells you to create alcoves. It is because you see reality in a particular case. A n d the reality you see shows you that a particular alcove is the right thing to do.

The

pattern

A L C O V E w h i c h first functioned no longer might make necessary You directly, like an animal. directly, simply

as an inYou althe

tellectual see reality

crutchis

to you. make

cove as an animal of the conceptbut propriate.

an alcovenot because

because it is ap-

545

THE

KERNEL

OF

THE

WAY

A t this stage, you work directly with what is real. B u t do not think, casually, that you can do this n o w , and that you therefore do not need a language to enable you to do it. A t this moment, you cannot see the reality: because your mind is full of images and concepts. A n d while you are at the stage where you rely on images and concepts (style, flat roofs, sheets of glass, white painted steel, thick redwood trim, shingles, rounded corners, diagonal lines) you cannot face reality d i r e c t l y y o u cannot tell the difference between what is real, and w h a t unreal. A n d in this state, the only w a y you can escape these images, is to replace them with more accurate i m a g e s t h a t is w h a t patterns are. B u t finally, you can release yourself from images entirely.

And which

in

this

sense, about

the the

language state

is the

instrument which I call

brings

of mind}

egoless. It is the use of pattern languages which after patient use, will allow you to come back to that part of yourself which has always been there, and is there n o w , but is obscured by images and ideas and theories, which make it impossible for you to be yourself, or act as nature does. T h e impulse to make w i n d o w s overlooking life, to make ceilings vary in height, columns thick enough against, small w i n d o w panes, sheltering steeply to lean sloping

roofs, arcades, seats by the front door, bay windows, alcoves, is already part of you. B u t you have been told so much, that you no longer value these inner-impulses. Y o u

546

THE

KERNEL

OF T H E

WAY

curb them, because you think that someone else k n o w s better. Y o u are perhaps afraid that people may laugh at you for being so ordinary. A pattern language does nothing really, except to wake these feelings once again.

It is the gate which which you live no longer need a

leads you to the state of mind, to your own heart that language.

in you

so close

I t is utterly ordinary. I t is w h a t is in you already. Y o u r first, most primitive impulses are right, and will lead you to do the right thing, if you will only let yourself. T h e r e is no skill required. It is only a question of whether you will allow yourself to be ordinary, and to do w h a t comes naturally to you, and w h a t seems most sensible, to your heart, always to your heart, not to the images which false learning has coated on your mind.

This

is the final lesson

of the timeless

way. your

Imagine yourself building a simple porch outside

room: a column to lean against; a gusset to strengthen its connection to the b e a m ; decorated with fretwork, so that the light falls softly, without glare from the s k y ; a rail to lean on easily, so that you can w a l k out and lean and smell the summer air; and the yellow sunlight, lit by the yellow grass, w a r m i n g the unpainted wooden planks. Imagine that you have reached the point, in your life,

547

THE

KERNEL

OF

THE

WAY

where you are making such a porch. Y o u are a different person n o w . T h e fact that you have understood the importance of these details, in your life, that you have understood h o w much they influence your life, means that you are n o w alive in a more simple sense. So finally you learn that you already k n o w h o w to create this ageless species which is the physical embodiment, in buildings, of the quality without a name, because it is a part of y o u b u t that you cannot come to it until you first master a pattern language, and then pass beyond the language, once it has taught you to allow yourself to act as nature does.

To act as nature world. berries.

does is the most as a simple

ordinary

thing

in

the

It is as ordinary

act of slicing

straw-

O n e of the most m o v i n g moments in my life, was also one of the most ordinary. I was with a friend in D e n m a r k . W e were having strawberries for tea, and I noticed that she sliced the strawberries very very fine, almost like paper. O f course, it took longer than usual, and I asked her w h y she did it. W h e n you eat a strawberry, she said, the taste of it comes from the open surfaces you touch. T h e more surfaces there are, the more it tastes. T h e finer I slice the strawberries, the more surfaces there are. Her whole life was like that. It is so ordinary, that it is hard to explain w h a t is so deep about it. A n i m a l almost, nothing superfluous, each thing that is done, done totally. T o live like that, it is the easiest thing in the w o r l d ; but

548

THE

KERNEL

OF T H E

WAY

foi a man whose head is full of images, it is the hardest. I learned more about building in that one moment, than in ten years of building.

When we

we are as ordinary towns and

as that, what buildings

with is

nothing

left

in any of our actions, can make various, finitely Almost ing lake, to the

except

requiredthen are as inand livlistenstill One we feel by of a

which

and as peaceful, of windblown feels waves against

and as wild grass. the shore,

ing, as the fields ocean

everybody

at peace with nature: by a heath.

in a feld

of grass, on a windblown the timeless our towns, out in the

day, when shall feel as much the meadow. ocean,

we have learned the same about

way again, walking grass

and we shall long

at peace in them, or stretched

as we do today

549

ACKNOWLEDGMENTS

During the fourteen long years that it has taken me to write this book, I have been helped by three people, above all. First, by my beloved Ingrid, who inspired me always, who understood so clearly what I was trying to do, who was always ready to talk, to look at it again, to help me see exactly what feelings were created by a passage in it, and who found many of the most beautiful photographs. Second, by my dear friend Sara, who came, year after year, at a moment's notice, to discuss a chapter, or a page, or a sentence . . . but most often, during our work together, helped me in our discussions of the theory as a whole. And third, by Peter Mailloux, who spent almost a year, the most difficult year of all, helping to see me through the final editing. As for the photographs, many of them come from books and magazines long out of print, and it has not always been possible to find the names of the photographers. However, both in the few cases which follow where I have been able to identify the photographer, and in all those other cases where I have not, I am immensely grateful to the photographers for their wonderful pictures, which do so much to explain the central meaning of the book.

55

ACKNOWLEDGMENTS

Erik Lundberg E. O. Hoppe 2 + Augustin Myska + 2 Marvin Bolotksy 44 H e n r i Cartier-Bresson +6 Ernst Haas 56 Bernard Wolf 57 Bernard Wolf Henri Cartier-Bresson Andre Kertesz 59 60 Andre Kertesz Henri Cartier-Bresson 61 H e n r i Cartier-Bresson 76 102 Roderick Cameron K. Nakamura 142 David Sellin Kocjanic Bernard Rudofsky I 70 I89 Ed Allen (drawing)
6 20
OO 00 00

Ed Allen (drawing) Werner Bischof David Vestal 196 197 John Durniak 2 1 2 Erik Lundberg 213 Eugene Atget 214 Luc Joubert 278 Henri Cartier-Bresson 280 Bruce Davidson Henri Cartier-Bresson 281 Lennart Nilsson 366 Ursula Pfistcrmcister 388 389 Eugene Atget Erik Lundberg 406 Erik Lundberg 408 Eugene Atget 480 Prip Moiler 518 535 Henri Cartier-Bresson W e r n e r Bischof 536
190 194