Emptiness Is An Empty Space

And he shot a bolt at each of the three blank walls and the vacuum hissed out at him. The emptiness made an even emptier whistle, a senseless scream. He tried to think about the vacuum upon which the nothingness had performed, but he could not. He held his breath so the vacuum could not get into his lungs. He cut off its terrible emptiness, drew back, and gave the entire room a gift of one huge bright yellow flower of burning.

“Emptiness stretching for miles, the sense of space, the vastness of the sky above, passing no farm or cottage, no kind of dwelling house at all in three miles. All was emptiness.”

Being empty of “something” should be considered as being full of everything in the world. One can see the trees, rain, clouds and even the whole universe in a single sheet of paper though it is “empty.” Emptiness is the foundation of everything.

Emptiness can be achieved through daily practice until you reach a level of maturity in Buddhism. Also, during this process you remove the thought doubt and shed your “self” ego way of thinking. From my understanding after you receive enlightenment, you break the cycle of constant death and

“Empty space eventually fills up with something. A void, cultivated in the aftermath of misfortune, begins to attract the wrong kind of attention.”

It begins within an empty dark space. With nothing more than a pedestal for ones mind to sit in place.

Architecture should be nurturing, responsive and alive, dynamically shifting spatial balances, organically expressive forms, subtly luminous colors and biologically healthy. To achieve such life-enhancing architecture, it has to address all the body senses simultaneously and fuse our image of self with experience of the world. By strengthening our sense of self and reality, architecture serves its all-important function of accommodation and

As suggested by the title, this piece of literature attempts to highlight the importance of sensory experience in architecture. It is indeed a response to what the author terms as ‘ocularcentrism’ of Modern Architecture. Ocularcentrism is the act of prioritizing visual stimuli to all other sensory stimuli available to a human perception. He quotes famous German poet, Goethe, in his defense, “the hands want to see, the

A person builds because he is searching for something or does not understand what it is. Therefore, in order to understand it a word or meaning is given. As a result, this word can mean anything or others might perceive it as such with their own will. The necessity to understand it lies with what we can create or is surrounding us. A dwelling is a dwelling because we say is a dwelling. The meaning of dwelling is given to a certain things, hence, it serves that purpose, but it can otherwise possess another. We seek words to make everything simple to acknowledge that something is there in the first place. The language and significance of things can go and new ones take their places, yet it would still possess the same nature as before if associated with its original idea. Relations are formed to create thoughts

In Wright and An alto's houses, a powerful sense of insides is generate by opacity. Which, in Falling water is express in roughly dressed stone masonry walls and, in Villa Mairea. By white-painted, solid walls. The transparency of glass windows in both houses thereby connect the two. In both houses, the architects created a strong sense of insideness yet, at the same time, devised ways to connect inside and outside and thereby create a robust continuity between the two. This inside-outside relationship can be translate into environmental and architectural experience in four different ways: (1) in-betweeness; (2) interpenetration generated by inside; (3) interpenetration generated by outside; and (4)

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

The entryways of the building come from four different sides and meet in the middle. The overall shape of the building creates different views and facades. The building was not created just on the looks of it; it is made up of a three dimensional, stimulating, tactile human thing.

There are two types of relationships between permanence and place. Architectural distinction helps to particularize a place from its surroundings. It is a static permanence. It is related to physical relationship between the building and place, its endurance, firmness and stability. Second fundamental factor is time. Time is responsible to create long lasting dispositions resulting in notable events which help to create permanent traditions that are embedded to its place. This dynamic permanence is based on mental relationship between community and place, through consciousness, awareness and various activities related to it. (Tuan, 2014)

The book consists of twelve chapters that propose this idea that designers should explore the nature of our senses’ response to the spatial built forms that people invest their time in. It tries to cover a specific topic in each chapter that in order to deconstruct the book, it is necessary to cover each chapter individually.

Architecture can be viewed with two different types of properties. Properties that can be seen like shapes, their composition, the spaces they create and, the colours and textures that make up their appearance. These properties are considered to be visual while other properties are considered to be abstract. These properties can only be described using words; the meanings behind the architecture and the stories that can be told about it. The context, its cultural background and its function also affects how we view architecture. The question is, what